A Quote by Jack White
Technique plays a part - you have to know how to play.
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The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.
These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what 'technique' means. But I do know what experience is.
I think a part of the reason that those early plays were short was that I just kept having these ideas, and I'd just go off and write them. I wasn't trying to write one-act plays - it's just how the ideas would be expressed. Every condition I was in seemed like it could be a play.
A true soldier does not argue as he marches, how success is going to be ultimately achieved. But he is confident that if he only plays his humble part well, somehow or other the battle will be won. In is that spirit that every one of us should act. It is not given to us to know the future. But it is given to everyone of us to know how to do our own part well.
I'm not saying that what the radio plays isn't good. My issue is with what they don't play. You can play Jay-Z, but why don't you play Jurassic 5? You can play Nas and Nelly, but why don't you play J-Live? I want to open up the door to how it was back in the day.
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.
If you're going to play bass, then play bass how you play bass. You can learn technique and theory, but we want to hear what you have to offer.
He took me under his wing when I first came to the Rams and taught me everything - his technique in the pass rush, how to play off blockers, and how to make the big play.
You know when you've found a part that you want to play. You know it because the part takes you over. It sits in the script waiting for you to play him.
I think in this country we're committed to developing plays, and many plays I've seen have been rewritten too much. The scenes are tight, the play ends at the right time, you know exactly what the scene is about, but it seems flat; you can almost see that too many hands have been on the play. The individual voice is gone.
When I was a little bitty kid, my aunt showed me how to play a little boogie. It took me years. I had to play the left-hand part with two hands, because my hands was so little. Then as I grew up and I learned how to play the left-hand part with one hand, she showed me how to play the right-hand part, and et cetera. My Uncle Joe showed me how to play a little bit different boogie stuff. I had people in my family that was professional musicians, but I just wasn't interested in what they did. I wasn't very open-minded to a lot of music that I'd be more open to today.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
Since I was little, I've watched Roger play on TV. To me, he plays almost perfect tennis. His technique is perfect. I also like him at the human level; he's a very good person on and off the court.
And no wonder; for the new technique of "subliminal projection," as it was called, was intimately associated with mass entertainment, and in the life of civilized human beings massed entertainment now plays a part comparable to that played in the Middle Ages be religion.
There is no more reason for a room on a stage to be a reproduction of an actual room than for an actor who plays the part of Napoleon to be Napoleon, or for an actor who plays Death in the old morality play to be dead.
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