A Quote by David Silva

I like to play in the middle, even though I can play on both wings. — © David Silva
I like to play in the middle, even though I can play on both wings.
Tactically, I know how to play on one side even though I remain convinced that I can play better through the middle.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
I decided that I want to live the rest of my life happy with what I'm doing. So when I play tennis again, I have to play it for the right reason. I don't want to play to get my No. 1 ranking back. I don't want to play for the attention, or to earn more. I don't even want to play because the world wants to see me do it, even though it's nice to know that the world is interested. I only want to play because I love the game, which is the reason I began to play at age seven in the first place.
In 'Hell Ride,' I play a biker - it's about the bikers. It's with Dennis Hopper and Michael Madsen, Larry Bishop and myself. We're bikers, and I play Billy Wings; I've got all sorts of wings, and you have to watch the movie to find out what the wings are about.
Both T.S. Eliot and I like to play, but I like to play euchre, while he likes to play Eucharist.
Even though the city of Memphis and this organization has welcomed me with open arms, I play every game like it's my last. Play as hard as I possibly can. Been no different my whole career.
My work is play. And I play when I design. I even looked it up in the dictionary, to make sure that I actually do that, and the definition of “play,” number one, was “engaging in a childlike activity or endeavor,” and number two was “gambling.” And I realize I do both when I’m designing.
At Porto, I play out wide, on the right, with two other attackers. But I can play in any position in the attack, I have even played in the middle before.
I used to play up front so I always had the ability to play with the ball, even though I am 6ft 4in.
Charlie Christian had no more impact on my playing than Django Reinhardt or Lonnie Johnson. I just wanted to play like him. I wanted to play like all of them. All of these people were important to me. I couldn't play like any of them, though.
Even though it's a shortened format of the game, Twenty20 allows people with different skills to play in a team and play their specific roles. Obviously there's not too much time to waste balls, but if you look at guys who play well in the top six, they have a fairly decent amount of good cricketing ability.
One interesting thing - I play bass and guitar and stuff like that. I know those instruments really well. But I don't know how to play clarinet or trombone or any of these other instruments. I don't actually know how to play ukulele even though I've played it a lot in the past. Because of the weird tuning it's not exactly like a guitar. That's one of the reasons I like that instrument - it makes for surprises. It's not so predictable as the bass or the guitar is for me.
It's one of those jobs where you go, 'Oh no, I've got to play Alfred Hitchcock. I have to play him even though I know what this is going to involve.'
Equally, though, there are guys who play England Under 19 who don't even play First Class cricket. It is a watershed in the careers in many ways.
Play exists for its own sake. Play is for the moment; it is not hurried, even when the pace is fast and timing seems important. When we play, we also celebrate holy uselessness. Like the calf frolicking in the meadow, we need no pretense or excuses. Work is productive; play, in its disinterestedness and self-forgetting, can be fruitful.
Australia play best when they've got a bit of mongrel about them, when they play hard out in the middle, when they don't give an inch, when they play an aggressive brand of cricket.
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