Best 11293 quotes in «play quotes» category

It's fun to play a character who lives on the edge, who is an ethical and moral mess, and is paying the price for some of his actions.

It's good to have a lot of once-in-a-lifetimes in your lifetime. If you get the chance to skydive, go skydiving. If you're offered a part in a weird Shakespeare play in San Diego, slap on some tights and rock out some iambic pentameter.

It's good to have certain restrictions sometimes, but it's definitely more fun to play really loud, with distortion.

It's great to be able to play the bad guy role because you always get a lot to do, but I'm always looking at the why. How does a person get to that particular point? It's those little cogs in the wheel that make it interesting for me to play. Ultimately, I hope for the audience to be engaged with it because it is going to take a turn.

It's fun to play mom. Last I knew I was playing a 17-year-old who graduated.

It's fun to play the type of people you dislike.

It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.

It's got to be a challenge but at the same time you have to feel as though you can play them - it's really dangerous to want to be a part of something just because you think it's going to be great. I've been sent plenty of scripts where I've known that it's going to be a great film and a successful one, but I just couldn't convince myself that I was the right person for the part. So, I think you have to be careful with that.

It's great fun to memorize somebody's biography, and then liberally play with the real facts of their life and go a step beyond reality.

It's great to do small plays in the theatre and then go off with Blur and play in front of thousands of people.

It's good to play something that's black and white, and a guy that sees right and wrong. I've never played a character like that.

It's great to play a rock star. Maybe not so great to be one.

It's harder to play drums than guitar, physically. I'm always kind of on the edge. I guess that's how I play everything: on the edge of my ability.

It's frustrating when you want to play but can't. I didn't touch a racket for three weeks and when I started playing again last week, I still felt some pain in my wrist.

It's harder to play a quiet character because everything happens in their stream of consciousness. They're thinking and feeling the world, but they're saying very little, so then you have to communicate it through your behavior.

It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

It seems to me that most people are impressed with just three things: how fast you can play, how high you can play, and how loud you can play.

It's hard for me to climb things. That's why I always play Assassin's Creed because it gets me feeling like I can.

It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.

It's hard for me to play seated theaters because people tend to sit down and get a little bit complacent, so it's less energy. It's just very dry and dead. People start to feel like they're watching a movie. The environment when they walk into it, it's not standing room only, smoking and drinking and rock 'n' roll. So it's a little bit dangerous to do that.

It's hard to find really original, compelling works of fiction, for women especially. I find that these true life stories about these women that I'm so blessed to play are some of the most compelling stories, and the truth is stranger than fiction.

It's hard if you start believing that you should be really that perfect fantasy ideal, that people start believing because of all of the retouching. You can delve into that fantasy world and play with it, but when you walk away, that's not you.

It's hard not to get down on the government when you see dysfunction play out on our TVs every day. Frankly, sometimes at every level of government.

It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.

It's great when you play to an audience that knows the words to all your songs, and sings them back to you.

It's hard to play a laptop in the midst of band and have people want to buy your t-shirts and CD's.

It's hard to say. Whenever you play with a group of people for a long time it influences the way that you play with others. They were all very defining in their own way and all affected the band in one way or another. I don't think they are so obvious in the music. The fact is that The Lawrence Arms is the culmination of a long search of trying to find people who play well as a unit.

It's hard to not get typed in Hollywood. They really want to type you. I'm trying to avoid that, because I want to do a lot of things. I know what I'm capable of. I forgive them because they don't know. They haven't seen me play Hamlet. They're not going to cast me as an English aristocrat. I'm going to have to prove that on my own. That's okay. That's what you have to fight for if you want to be an artist.

It's hard to train that in practice time. You can make calls, you can make adjustments, but just that pressure, 'This is what it is, this is reality, I need to concentrate on every play,' that's what we've got to get through.

It's hard work. It's really hard work, but it's really interesting. We have this camera, I think it's called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It's incredible. You're reacting to a tennis ball that's way up there, then when you watch it, it's this huge giant's face on it. Wow. That's cool. I just can't wait to see it when it's all edited together and the special effects are all crystal clear. It's going to be, hopefully, amazing.

It's important for me to take very famous, well-known people and not have them play themselves and not have them be seen as themselves.

It's important to have balance in your life between work and play.

It's important for me to play women who can overcome adversity, make change, and take control of their lives. I think it's a great time for women in TV and film in general, and I want to help tell these stories.

It's important to feel and to be connected to your emotions, whichever way they play out.

It's interesting how you can blur the line between acting and living and learn from your performances. I'm just trying to keep learning as much as I can and not get caught up in all the distractions that can play havoc with your mind.

It's insulting to ask a dramatist what his view of his play is. I have no opinion

It's impossible for me to play a part without thinking about the audience.

It should almost be a prerequisite to play Castle Stuart before you're allowed to design golf courses nowadays.

It's impossible to play a run with as much feeling as a single note. I've never been so much into runs as making single notes cry.

It's impossible for me to feel like there's only one way to do a thing. There's nothing wrong with having one way of doing it, but I think it's a bad habit. I believe in range. Like, there's a lot of tunes that I play all the time-sometimes I hear 'em in a different register. And if you don't have complete freedom, or you won't let yourself get away from that one straight line, oh, my goodness, that's too horrible to even think about.

It's important to play the pieces that you feel you can play well. It was always my dream to play Bach - my first love and fascination - Chopin, and Szymanowski.

It's important to pull tons of pieces! If you have lots of options to choose from, you can play around and see that things that you wouldn't originally have expected to work together actually do! That applies to both clothing and decorating.

It's just a huge boost for us to have one extra playmaker on our defense. He makes so many impact plays and changes the game a lot.

It's interesting to play a role where you don't really have to preoccupy yourself with any need to convince yourself that you're not acting.

It's incredibly fun to play someone that you don't like. It exorcises your own demons in a way. It's cathartic. We all have things that we don't like about ourselves, little things. And I get to amplify those things and put them out there. It's fun and it has a cleansing effect.

It's interesting that in searching for monsters to play you often end up playing leaders.

It's just interesting that people don't really know about the roles that I play that are darker. I kind of do a huge blend of really big light things but also really dark indie things, and it just sort of happens to work out that way.

It's just part of whatever motivates guys and whatever they say. Ultimately it comes down to how well you play. What I've learned over the years, a lot of guys talk. What you need to do is go out there and play, back it up. They've been able to back it up, so that's why it works for them. Hopefully we can go out there and do our talking on the field.

It's just a joy to be able to work with a lot of different musicians. When you play with great musicians, whether they're schooled or self-taught, they keep you on your toes.

Its just as disappointing as it was thrilling to win the Masters. To come very close, to play so hard for 72 holes and play better than everybody but one guy is disappointing.