A Quote by Finty Williams

It's an amazingly daunting prospect to play any part you've seen someone else play brilliantly. — © Finty Williams
It's an amazingly daunting prospect to play any part you've seen someone else play brilliantly.
The cool thing about being in drag, just like getting to play a role in a play, is that you get to play a fantasy and you get to play someone else that you're not used to.
I hope to be known as a chameleon actress, as someone who can play any part out there, and someone who can transform herself into any kind of character there is.
I was terribly upset not to be in 'Dickensian,' so I pretend to look down on it. The part I should have played, Mrs. Gamp, is done brilliantly by Pauline Collins, but I entered this world for no other reason than to play that part.
Completing any writing project, particularly a novel, is a daunting prospect. Many people become frozen by the prospect. Others keep waiting for the right time. Some wait for the spark of inspiration. Even experienced writers find it is easier to do anything other than actually write.
What is yours is to play the assigned part well. But to choose it belongs to someone else
Obviously, I'm at the beginning of my career, contrary to what anyone else thinks. I'm 19 years old. In any other country, everywhere else, you're a prospect. And that's what I am right now in Europe. I'm a prospect. I'm not a seasoned veteran.
It can be a daunting prospect for any player to know that his opponent will never, ever quit.
The TV show. Any time you're playing, this is the gift, you get to play someone else. You get to be someone who you're not.
Being a theater actor, I've done a lot of plays where I've seen someone else play the same role in another production. Especially with the classics: Shakespeare, Tennessee Williams.
I want to show people all of me, because that's what I haven't been doing. To be able to play so many instruments, and no one's ever seen me play, it seems like someone who's bluffing.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
It's always very daunting to play someone who actually existed. You have to honor that, and be specific and accurate and try to make people believe that you're that guy, which is really hard.
My heart gets very tender when it comes to playing someone who has wronged someone else. I almost feel like it's easier for me to play having been wronged than it is to actually feel like you had an active part in hurting someone.
Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.
I don't know if the character's come back and it was someone else playing it, or maybe they never did it again. But I loved it. It was a great part [The Joker] to play.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
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