A Quote by Damian Lewis

If you pick up an eighteenth-century play, at the top it says 'The Argument,' and then you have a list of characters, and then you have the play. I was just always struck by that - that, of course, good drama is about conflict.
If it's a good play, don't get too high. Make a good play, follow it up, and then if it's a bad play, if there's a mistake or there's something wrong, don't worry about it.
If you don't play, then don't pick up a paycheck. Competition is why you play the game. I understand they've already reached some goals. That's all good. But if you can make history, take a shot at it.
I literally grew up in drama. I used to watch drama - the catharsis of the play - then see drama at home.
I used to play trumpet when I was a kid, and then I got braces, and I couldn't really play it anymore, so sometimes I wish I could still play that; I think it's a great instrument, so maybe one of these days I'll pick it back up.
Acting is many things, and one is an exercise of will. In any given scene, you're trying to find where the drama and conflict is and then deploy the actors to play at that point of conflict with precision, control, and complete will.
First, you have to play good football so that you get to play for a good team. Then, hopefully, you achieve such a level that you are invited to play for your national side, in time for a World Cup if possible. Then, obviously, play a good World Cup. That's my dream.
I like to play football, and of course I like to play for Tottenham, but I try to enjoy every game because that's the most important thing, to have fun on the pitch, and then you can play good.
If you play jazz, then you play with your fingers. If you're playing rock, you use a pick. There's really no rhyme or reason to that other than that's just the way it has been.
If you want to be a rock star or just be famous, then run down the street naked, you'll make the news or something. But if you want music to be your livelihood, then play, play, play and play! And eventually you'll get to where you want to be.
When I was a kid, I felt like I could do anything and play anything. I just felt super-confident. And then, once I started to play music professionally, maybe it's from being from a small town, but you grow up and then you're suddenly a big fish in a small pond, and I realized that there were a billion other drummers out there that could play as good as you or better, and everybody wants that job.
I don't play the role of a villain, really, but I like playing anti-hero kind of roles. I like characters where there's conflict, drama, and more personal investment than just being heroes.
I don't play comedy as comedy. That would be the biggest trap. I think about the characters and their situations. Then you don't have to worry where the laugh is going to be. But comedy is harder than drama.
I'm not sure if it's because I'm older and I'm thinking about family more, but I'm trying to set up this thing where I can play in one city for a month, and then write music for a couple months, then play in another city for a month, write music for a month. Just so it's not these two schizophrenic, Jekyll and Hyde kind of things; you don't have to be this monster. You get inspired and you can go write one song from that, and then you go back and play a few shows. If I could've done that in the 90s, I would have.
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.
There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.
When I was a baby, I was on a tennis court every day with my mom and with my brothers, so I would pick up the balls for them when they'd play, and then sometimes I'd play with them, but not very often.
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