A Quote by Aimee Bender
I did plays in college, and I have half of a play. But I'm kind of stuck. I keep revisiting it so maybe it will move somewhere. There's something about plays where you can feel that sense of artifice at any moment.
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I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
I took an acting class at Cerritos Junior College and I did a handful of plays, maybe five or six plays.
I mean I was very shy but I was also very extroverted because I was doing plays. I'd been doing plays since I was a little kid. But, I did feel like an outsider because I went to like a 'college-prep' kind of high school that had a really big football team and was known for its program so I was like this weird boy that did plays.
The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
I feel like we're very lucky in the sense that Dawes can be the kind of band that plays with Bright Eyes or M. Ward but that also plays with Bob Dylan.
Obviously VIA DOLOROSA is completely artificial. It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.
When I was at school, I wanted to join the army. At college, I started acting in college plays, and it became a kind of addiction. I was very shy when I was at school, but the plays seemed to give voice to my feelings.
There's nothing personal in it [THE SKRIKER]. I'm not ever inclined with any of the plays to say, This is about that, because plays are about the whole event that they are. . . . I was certainly wanting to write a play about damage - damage to nature and damage to people, both of which there's plenty of about. To that extent, I was writing a play about England now.
I did a couple of plays in junior high school, maybe high school, and then I did a play in college.
What I really enjoy is not you; it's something that's greater than both you and me. It is something that I discovered, a kind of symphony, a kind of orchestra that plays one melody in your presence, but when you depart, the orchestra doesn't stop. When I meet someone else, it plays another melody, which is also very delightful. And when I'm alone, it continues to play.
My family is all musicians - my dad plays drums, my mom plays flute, my older brother plays drums, my little brother plays drums and piano. For some reason, I didn't get the memo, so I just play bass.
This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.
When I was a kid I really liked the guitarist of The Doors [Robby Krieger]. He plays blues, but he plays a lot of melodic things. He plays scales that are kind of unusual, and some bent notes.
You can say what you want about Carlos Tevez, but when he plays, he plays to win, and he plays for his team-mates.
A lot of the best acting training I had was in junior high and high school. We had very demanding directors and did real plays. You put our plays up against any theater troupe of any age, and they usually did pretty damn well.
I guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.
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