A Quote by Dimebag Darrell
When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
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We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I was probably 16.I played - I tried to play these songs that I had written. And, this was a common theme when I was younger: I would write a song about somebody, and they would come to my show. I wouldn't be able to play the whole thing, because, there would be some giant, loaded secret coming up in like, the third verse, or something.
I saw so many amazing musicians struggling to build something good. They would play and play... and play some more, but it seemed like there was something missing. I wanted to go someplace higher myself, and go there with the people who come to hear me play. So I began to envision events with their own gravity, that would pull a community of people together for a meaningful experience.
I think as you get older, you find you can play more things because you're moving to a different category. You play a certain thing as a younger man, playing action roles like I did. Then I moved out, and I kept trying to do different things all the time.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
I play with feeling so I need to hear what is coming out of the amplifier to inspire me; I don't just play mechanically. I need to hear what I am doing in order to create the next note. If I don't hear it then I can't feed myself.
Improvisation is a great mystery. You play something, and you play an answer to it. Then you play something to wrap it up. Nothing is going through your mind; you're not thinking of anything. Every now and then you surprise yourself. Where did that come from?
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
I play with feeling so I need to hear what is coming out of the amplifier to inspire me; I dont just play mechanically. I need to hear what I am doing in order to create the next note. If I dont hear it then I cant feed myself.
The thing I was up against in documentary films - was trying to get non-actors to convincingly play themselves in a way I'd come to know before the camera started rolling. And many non-actors can't do that convincingly, even if they just have to play themselves - they can't be naturalistic. And I would always want to recreate something I'd witnessed them do or say, and it just would be incredibly difficult because of the fact they weren't actors.
Right now, it hasn't affected my music other than the fact that I don't have time to write any of it. That's no different from when I first started and I lived at home. I would play the guitar in the afternoon and then my mom or my dad would come home and I'd have to quit.
I don't play anymore because I can't play anymore and I retired when I was playing for Chelsea because the doctor had to cut my leg in two parts so this is why I retired. I started going to the gym recently and my knee started to hurt again, so you can imagine what it would be like if I tried to play! I play football on the beach with my daughters and my friends but that's it.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
I think it's necessary to identify with anything - with any character you play, there's got to be something in common, so you can link up to that person, even if it's like one tiny thing. But it's equally fun to play somebody completely different, and trying to find what that thing is to make it.
There's been a lot of legends that I've gotten the opportunity to play against, some to play with. Those guys, sometimes they retire or different things, younger guys come up, they start over them.
You're trying to play someone [Edward Cullen] who's seen by a lot of people as being this perfect thing, but what is that? That doesn't really mean anything. You're trying to play an archetype on one hand and then a character on the other, so I felt insanely frustrated right up until the last shot, and then it ended.
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