Quotes of All Topics . Occasions . Authors
With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.
So that's how we live our lives. No matter how deep and fatal the loss, no matter how important the thing that's stolen from us--that's snatched right out of our hands--even if we are left completely changed, with only the outer layer of skin from before, we continue to play out our lives this way, in silence. We draw ever nearer to the end of our allotted span of time, bidding it farewell as it trails off behind. Repeating, often adroitly, the endless deeds of the everyday. Leaving behind a feeling of immeasurable emptiness.
Thank God for that. You can shut them, say, 'Hold on a moment.' You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV parlour? It grows you any shape it wishes! It is an environment as real as the world. It becomes and is the truth. Books can be beaten down with reason. But with all my knowledge and scepticism, I have never been able to argue with a one-hundred-piece symphony orchestra, full colour, three dimensions, and I being in and part of those incredible parlours.
Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.
You can't ask me to explain the lyrics because I won't do it...I always believed that I have something important to say and I said it. That's why I survived because I still believe I've got something to say. ... I don't like overdubs, never liked them. ... The music business doesn't interest me anymore...Don't the people you're around shape the music, is that what you're saying? Everything does. ... I'm not joking around when I've said occasionally, trying to learn how to play a D chord properly has been a very big thing for me.
Now all the myths that you have heard and that resonate with you, those are the elements from round about that you are building into a form in your life. The thing worth considering is how they relate to each other in your context, not how they relate to something out there-how they were relevant on the North American prairies or in the Asian jungles hundreds of years agon, but how they are relevant now-unless by contemplating their former meaning you can begin to amplify your own understanding of the role they play in your life.
Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in midair by incorporeal creatures, but are the work of suffering human beings, and are attached to the grossly material things, like health and money and the houses we live in.
And, in the future, while the dumb show of bohemianism plays itself out in the cookie cutter shape of the politically correct martyr/victim, aesthetic terrorists will not involve themselves in the dubious rewards of celebrity. The best of them will work alone, already a part of the enemy camp, and in chameleon-like style master the fifth-column algorithms to subvert the ancient regime. We won't know them by their name but their compensation will be to affect the outcome of the planet. Until then, there's a lot of work to be done.
I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes
Isabelle and Jace had left the topic of dead Shadowhunters behind and had moved on to something Jace apparently found even more horrifying__Isabelle's date with Simon. "I can't believe he took you to an actual restaurant." Jace was on his feet now, putting away the floor mats and training gear while Isabelle leaned against the wall and played with her new gloves. "I assumed his idea of a date would be making you watch him play World of Warcraft with his nerd friends." "I," Clary pointed out, "am one of his nerd friends, thank you.
I am no king, and I am no lord, And I am no soldier at-arms," said he. "I'm none but a harper, and a very poor harper, That am come hither to wed with ye." "If you were a lord, you should be my lord, And the same if you were a thief," said she. "And if you are a harper, you shall be my harper, For it makes no matter to me, to me, For it makes no matter to me." "But what if it prove that I am no harper? That I lied for your love most monstrously?" "Why, then I'll teach you to play and sing, For I dearly love a good harp," said she.
Strengthening the role the United Nations can play...will require serious examination of the need to extend into the international arena the rule of law and the principle of taxation to finance agreed actions which provide the basis for governance at the national level. But this will not come about easily. Resistance to such changes is deeply entrenched. They will come about not through the embrace of full blown world government, but as a careful and pragmatic response to compelling imperatives and the inadequacies of alternatives.
It is evil to justify killing (unborn babies) by the happy outcome of eternity for the one killed. This same justification could be used to justify killing one-year olds, or any heaven-bound believer for that matter. The Bible asks the question: "Shall we sin that grace may abound?" (Romans 6:1) And: "Shall we do evil that good may come?" (Romans 3:8). In both cases the answer is a resounding NO. It is presumption to step into God's place and try to make the assignments to heaven or to hell. Our duty is to obey God, not to play God.
The movie Fifty Shades of Grey is considerably better written than the book. It is also sort of classy-looking, in a generic, TV-ad-for-bath-oil way. Dakota Johnson, who plays the virgin English-literature major Anastasia Steele, and Jamie Dornan, who plays Christian Grey, the wildly rich and sexually particular business titan who wants Miss Steele in his playroom, are exceedingly attractive actors with enviably supple bodies well suited to nakedness. And really, under the circumstances, movable parts matter more than acting skills.
problematic within post-Reformation dogmatics. Is faith something I `do' to earn God's favour, and, if not, what role does it play? Once we release Paul's justification-language from the burden of having to describe `how someone becomes a Christian', however, this is simply no longer a problem. There is no danger of imagining that Christian faith is after all a surrogate `work', let alone a substitute form of moral righteousness. Faith is the badge of covenant membership, not something someone `performs' as a kind of initiation test.
Just coming to terms with the fact that I got to play April Wheeler [Revolutionary Road] and Hanna Schmitz [The Reader] in one year, let alone in my lifetime. I'm very, very aware of how rare that is as an opportunity for any one person. I can't tell you how much I've been able to take away from these experiences creatively. I really, really learned so much about acting, about myself... all of those things. It's difficult to talk about the actor's process without sounding like an arrogant asshole but they really were very challenging.
I also think within the scene, a specific scene - if I were to play a part that I played 10 years ago now, my interpretation of that scene would be totally different. I would be making different choices. Because I can't somehow subtract all of the experiences that I've had in my life. And it's fascinating to see, because somewhere I'm very reflective in that. You know, I've been playing basically actually close to 40 years old, so I'm somewhere lost in age in this movie. But it's been fascinating to see that I can't subtract that time.
I think one of the both liberating and terrifying prospects from synthetic biology for example is that you are going to have all of these do it yourself biosynthetic labs where people are going to be playing with the software of life. We are going to have a new generation of artists that are going to be playing with genomes the way that Blake and Byron used to play with poetry. And when genomes are the new canvas for the artist, we might be able to radically upgrade the human species and the software of the biology of the human species.
Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.
Significant inventions are not mere accidents. The erroneous view [that they are] is widely held, and it is one that the scientific and technical community, unfortunately, has done little to dispel. Happenstance usually plays a part, to be sure, but there is much more to invention than the popular notion of a bolt out of the blue. Knowledge in depth and in breadth are virtual prerequisites. Unless the mind is thoroughly charge beforehand, the proverbial spark of genius, if it should manifest itself, probably will find nothing to ignite.
Richard [Griffiths] was by my side during two of the most important moments of my career. In August 2000, before official production had even begun on Potter, we filmed a shot outside the Dursleys', which was my first ever shot as Harry. I was nervous and he made me feel at ease. Seven years later, we embarked on 'Equus' together. It was my first time doing a play but, terrified as I was, his encouragement, tutelage and humor made it a joy. In fact, any room he walked into was made twice as funny and twice as clever just by his presence.
Listen, are we helpless? Are we doomed to do it again and again and again? Have we no choice but to play the Phoenix in an unending sequence of rise and fall? Assyria, Babylon, Egypt, Greece, Carthage, Rome, the Empires of Charlemagne and the Turk: Ground to dust and plowed with salt. Spain, France, Britain, America—burned into the oblivion of the centuries. And again and again and again. Are we doomed to it, Lord, chained to the pendulum of our own mad clockwork, helpless to halt its swing? This time, it will swing us clean to oblivion.
Don`t be imitators. The mind is an imitator, because it is easier to play the game of imitation than to become authentically true. Many ideas have been given to you: become like a Buddha, become like Jesus. become like Krishna - as if you have to become everybody else EXCEPT yourself. As if God is only against you. He`s for Krishna, for Christ, for Mahavir, for Buddha - only against you. Then why does He create you? Then He seems simply foolish. Why does He go on creating you? If He`s interested in Buddha, Hc can create Buddhas. Why you?
Calpurnia evidently remembered a rainy Sunday when we were both fatherless and teacherless. Let to its own devices, the class tied Eunice Ann Simpson to a chair and placed her in the furnace room. We forgot her, trooped upstairs to church, and were listening quietly to the sermon when a dreadful banging issued from the radiator pipes, persisting until someone investigated and brought forth Eunice Ann saying she didn't want to play Shadrach any more - Jem Finch said she wouldn't get burnt if she had enough faith, but it was hot down there.
ZANY, n. A popular character in old Italian plays, who imitated with ludicrous incompetence the _buffone_, or clown, and was therefore the ape of an ape; for the clown himself imitated the serious characters of the play. The zany was progenitor to the specialist in humor, as we to-day have the unhappiness to know him. In the zany we see an example of creation; in the humorist, of transmission. Another excellent specimen of the modern zany is the curate, who apes the rector, who apes the bishop, who apes the archbishop, who apes the devil.
It [the free market] is an organizational way of doing things, featuring openness, which enables millions of people to cooperate and compete without demanding a preliminary clearance of pedigree, nationality, color, race, religion, or wealth. It demands only that each person abide by voluntary principles, that is, by fair play. The free market means willing exchange; it is impersonal justice in the economic sphere and excludes coercion, plunder, theft, protectionism, and other anti-free market ways by which goods and services change hands.
Curiously enough, the only two plays that I've done very much revision on were the two adaptations - even though the shape of them was pretty much determined by the original work. With my own plays, the only changes, aside from taking a speech out here, putting one in there (if I thought I dwelled on a point a little too long or didn't make it explicit enough), are very minor; but even though they're very minor - having to do with the inability of actors or the unwillingness of the director to go along with me - I've always regretted them.
We all have those dreams of going back in time and seeing what it was like when our parents were younger. Maybe we don't all have that dream. I don't know. Getting to role play or step back to a different moment in time and see things through a different lens is something that resonated with me, for sure. We don't get to do that, generally, but when the right neurological disorder lines up with the right unstable woman, that moment presents itself. Getting to know where we come from is a really profound way of getting to look at who we are.
We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
There was a lot that was tricky about playing with [Thelonious Monk]. It's a musical language where there's really no lyrics. It's something you feel and you're hearing. It's like an ongoing conversation. You really had to listen to this guy. Cause he could play the strangest tempos, and they could be very in-between tempos on some of those compositions. You really had to listen to his arrangements and the way he would play them. On his solos, you'd really have to listen good in there. You'd have to concentrate on what you were doing as well.
In truth, philosophy is the mode of thought shaped by the most radical form of prejudice: the passion of being-in-the-world. With the sole exception of specialists in the field, virtually everyone senses that anything which offers less than this passion play remains philosophically trivial. Cultural anthropologists suggest the appealing term 'deep play' for the comprehensively absorbing preoccupations of human beings. From the perspective of a theory of the practising life we would add: the deep plays are those which are moved by the heights.
The opposite of Taking A Risk is of course Playing It Safe The latter would probably be a reasonable way of life for seventy or eighty years if you had a contract to live for a thousand years. However, since you know that is out of the question, you must admit, Playing It Safe is a pretty dull way to live. Those who play it safe are generally not too exciting, in fact they would probably border on being very boring personalities. On a score of one to ten as a Risk Taker where do you stand? Add a little spice to your life today and take a risk.
I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.
I'm not defending the Trump vote. I think they're making a bad choice. But I'm saying the bad choice isn't one out of pure ignorance, and I think it's too easy. And it plays into cliches about, you know, elitist liberals to say, oh, these Trump voters - if they knew more, they would do better. And it's like, well, maybe they would do better if we had a legitimate set of policies in place that doesn't encourage the kind of gross radicalization that has happened under the Trump candidacy. So for me, it's all about developing a richer conversation.
One of the most powerful aspects of drumming and the reason people have done it since the beginning of being human is that it changes people's consciousness. Through rhythmic repetition of ritual sounds, the body, the brain and the nervous system are energized and transformed. When a group of people play a rhythm for an extended period of time, their brain waves become entrained to the rhythm and they have a shared brain wave state. The longer the drumming goes on, the more powerful the entrainment becomes. It's really the oldest holy communion.
The last thing I want to do is having someone get behind a Montgomery Clift biopic, and then just do the first script that came out. Sometimes it takes a long time for these things to gestate. And I'm only going to do it if it's the right story that's told for the right reason, and that's relevant to this day and age, as much as it pays homage to who this man was. Should that happen during the time when I'm still young enough to play him, perfect. And if not, hopefully someone else will get to play him because I do think it's an incredible story.
Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theater and learn to become 'stage-worthy.' We learn through experience and experiencing, and no one teaches anyone anything. This is as true for the infant moving from kicking and crawling to walking as it is for the scientist with his equations. If the environment permits it, anyone can learn whatever he chooses to learn; and if the individual permits it, the environment will teach him everything it has to teach. 'Talent' or 'lack of talent' have little to do with it.
Hollywood is a showman's paradise. But showmen make nothing; they exploit what someone else has made. The publisher and the play producer are showmen too; but they exploit what is already made. The showmen of Hollywood control the making - and thereby degrade it. For the basic art of motion pictures is the screenplay; it is fundamental, without it there is nothing. Everything derives from the screenplay, and most of that which derives is an applied skill which, however adept, is artistically not in the same class with the creation of a screenplay.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
Religion restricts the play of choice and adaptation, since it imposes equally on everyone its own path to the acquisition of happiness and protection from suffering. Its technique consists in depressing the value of life and distorting the picture of the real world in a delusional manner - which presupposes an intimidation of the intelligence. At this price, by forcibly fixing them in a state of psychical infantilism and by drawing them into a mass-delusion, religion succeeds in sparing many people an individual neurosis. But hardly anything more.
Each of us plays four roles in relation to the brain. We lead, we inspire, we invent, and we use it. Most people do not actively use their brains. They passively let their feelings and thoughts control their lives. They don't invent new ways to use their brains, either, settling instead for the same routine and repetitive thoughts every day. But if you master all four roles, you create your super brain. When you are the active observer of your feelings and thoughts, you become the user of your brain. Your super brain then serves you, not vice versa.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
I will continue to work for the advancement of freedoms in Egypt and the Arab world until I drop dead... Education itself - which can and should play an important role in the apprenticeship of tolerance and respect for other people -sometimes encourages identitarian closure, or even extremist behaviour... It is therefore vital to ensure that education does not encourage rejection of other people or identitarian closure, but that on the contrary it encourages knowledge and respect for other cultures, other religions and other ways of being and living.
I don't know how (producer) Dan Harmon put that together but he did. Everyone gets along and we all babysit Chevy Chase (laughs) and it all works out. Plus we are given a lot of freedom to riff off each other and compliment each other's comedic style. The group is so talented, whether it be Donald Glover or Allison Brie and now Jim Rash who plays the Dean is finally a full member of the cast - oh my gosh, he is so funny. I call him Rumplestiltskin; he can spin comedy out of anything. I am in such a blessed situation - if only more people would watch it.
The competition between human beings destroys with cold and diabolic brutality... Under the pressure of this competitive fury we have not only forgotten what is useful to humanity as a whole, but even that which is good and advantageous to the individual. [...] One asks, which is more damaging to modern humanity: the thirst for money or consuming haste... in either case, fear plays a very important role: the fear of being overtaken by one's competitors, the fear of becoming poor, the fear of making wrong decisions or the fear of not being up to snuff...
Regardless of the extent to which the media promote "politically correct," but scientifically wrong, resolutions from professional societies such as the American Anthropological Association, facts remain facts and require appropriate scientific, not political or ideological, explanation. None of this should be construed as meaning that environmental factors play no part in individual and group differences. But with each passing year and each new study, the evidence for the genetic contribution to these differences becomes more firmly established than ever.
It's my motto," said Isabelle, with a sultry smile. 'Nothing less than seven inches.' Meliorn gazed at her stonily. 'I'm talking about my heels,' she said. " It's a pun. You know? A play on-" "Come," the faerie knight said. "The Queen will be growing impatient." He headed down the corridor without giving Isabelle a second glance. "I forgot," Isabelle muttered as the rest of them caught up to her. " Faeries have no sense of humor." "Oh, I wouldn't say that," said Jace. "There's a pixie night club called Hot Wings. Not," he added," that I have ever been there.
The first instrument I had was made in the late '70s. Back then they had basically one tuning. I shifted slightly away from that tuning right away (to what is now called the Baritone Melody Tuning), because I wanted more string overlap between the two sides.The instrument I currently play has an active pickup system, Fret Rails, a fully adjustible bridge, adjustible truss, Flaps adjustible nut. Even with all of these advances, I'm always struck when I play the older instrument how good they were even then. Emmett's always been great at implementing his ideas.
When something terrible happens, a lifetime of small events and unremarkable decisions, of unresolved anger, and unexplored fears begins to play itself out in ways you least expect. You've been going along from one day to the next, not realizing that all those disparate words and gestures were adding up to something, a conclusion, you didn't anticipate. And later, when you begin to retrace your steps you see that you will need to reach back further than you could have imagined, beyond words and thoughts and even dreams, perhaps to make sense of what happened.
Fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step.
