A Quote by Edward Albee
I think it's for the critics to decide whether or not their loathing of the play is based on something other than the play's merits or demerits. They must search their own souls, or whatever.
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I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.
But if you want to be a songwriter-based musician, whether you play punk or rock or country or jazz, whatever, you have to work on your songwriting and you have to work on being able to play in front of people, I think. That performance is how you create the groundwork for a lasting career.
There are really only two ways to approach life - as victim or as gallant fighter - and you must decide if you want to act or react, deal your own cards or play with a stacked deck. And if you don't decide which way to play with life, it always plays with you.
I never pick a film based on the genre; I choose the characters I play. I will think it through thoroughly - whether I am the best person to play the character, able to excel in it and match with the other characters.
I don't play golf. I don't play basketball. I don't really like cards. I don't think anybody questions whether or not I have a role to play here. And so I think it is irrelevant whether the president wants to do that in some of his free time. What's really important is, when we have something to say, does he listen to us?
I'm a guy that is willing to do whatever it is for the team, whether it is a kick returner, whether it be a punt returner, whether it be running down on kickoffs, whether it's line up in the slot, whether it's run a dummy play, fake play.
I don't even think whether I play the blues or not, I just play whatever feels right at the moment.
You don't get to decide your part in the school play, but you do get to decide whether or not you play it well.
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.
I've never been able to sit round on my own and play drums, practice in the back room, never been able to. I've always played with other musicians. It's how I play, there's no joy for me in playing on my own, bashing away. I need a bass, a piano, guitar, whatever, and then I can play.
I just play to win. I play to be competitive; that's it. I think every player hopes that they do something special that everyone remembers later in life, or whatever. But that's not why we're playing. At least, that's not why I play.
I don't really look at stats or whatever. You see them on the big screen. But other than that, I don't pay too much attention to it. I did know about my dad's home run total. Other than that, I don't like to know. It's pointless. Whether you know or don't know, you don't want to think about it. You just want to go out and play the game.
It's hard to say. Whenever you play with a group of people for a long time it influences the way that you play with others. They were all very defining in their own way and all affected the band in one way or another. I don't think they are so obvious in the music. The fact is that The Lawrence Arms is the culmination of a long search of trying to find people who play well as a unit.
We must defend democracy using its own mechanisms, through explaining and exemplifying its merits rather than through the heavy-handed and arbitrary silencing of its critics. This is how we will build a sustainable alternative to the contorted worldview of extremists.
My approach is simple. It is nothing other than what I am thinking at the time I make each piece of clothing, whether I think it is strong and beautiful. The result is something that other people decide.
Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as these stories concern us at all, we are never less than heroic.
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