A Quote by Abi Morgan
I always say writing a play is like toothache: I find it incredibly painful, and it's only once the play's out that the pain is gone.
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I really have very little aspirations about acting because I think that probably the best things have come and gone. I would like to focus on writing and directing. I love writing and directing even though writing can be incredibly painful and lonely. I get great satisfaction from doing it.
As an actor, you can't play big, huge things. But, what you can play is love for your father and caring for your daughter and being afraid, and having to dig deep and find out what you're made of. All of those things have been incredibly fun to play.
When do I say No? I say No when I feel that the intention of the play, or the spirit, or tone - or text! - is being knowingly changed. Fortunately, this has happened only once. Next time I would say No earlier, and definitively. Otherwise, ultimately, the only No you have is No, you can't open the play. And that No is very very hard to say.
In football, every play, play after play, there's that physicality. Football players only play once a week, so they must really need to rest. That does kind of tell you how physical the sport is. But in hockey, you have the boards. I just couldn't say which is more physical.
When you were a child, where boredom could actually get to be painful. Sociopaths experience that kind of pain in boredom. And so to be alone, to have nobody to play the game with, can be painful. It's not exactly fear, it's a kind of pain.
I play like I always used to, with no agenda. And, every once in a while, I will play something I really hadn't thought about or even intended to play. And I'll go, 'Whoa! What was that?'
I find it's very confusing when one critic tells you one thing and one tells you something completely different. Unless all the critics agree on parts of the play that just didn't work. I have stopped reading reviews, because I find writing is all about courage. You must have courage when you start writing a play and you cannot have the voice - you must write things out. You cannot have the voice of a critic telling you, "That didn't work in that play, you cannot make it work in another play." Every time you do a production, it's an experimentation.
So, you play today! You don't worry about what's gone, 'cause that's already gone and you can't bring what's gone back. It doesn't happen that way. So, every day's a new day and just play it as it comes. And I turned out to be a singer that was not on dope.
Learning to play golf is like learning to play the violin. It's not only difficult to do, it's very painful to everyone around you.
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
A sense of play is important when I'm writing, and so messing around with, say, a magic routine can feel like play, at least initially.
My body is really worn out. This pain is part of my life, and I play the match with it. And since no other player has gone through what I've gone through in terms of injury, setbacks, it's hard for them to understand.
Merlin really taught me how to concentrate, that you play each play as if it were the only play. And if you put all the plays together like that, then you'll come out on top.
I have always wanted to play different kinds of stuff, but it's hard, first to find good material, and then to change people's perception of you so they'll let you do it. I mean, I would really like to play a poet, but once they get this notion of you as a street guy, it's hard to change that.
It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor.
A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.
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