A Quote by Robert Parish

There weren't many plays for me. A lot of my stats came off broken plays, or when I didn't allow the options to play out and just took the shot. — © Robert Parish
There weren't many plays for me. A lot of my stats came off broken plays, or when I didn't allow the options to play out and just took the shot.
I had done plays all my life. Many, many, many plays, off-Broadway plays.
I fell in love with acting, just going to a lot of plays. My parents went to a lot of plays, and I went to a lot of schools that would get plays for kids.
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.
My family is all musicians - my dad plays drums, my mom plays flute, my older brother plays drums, my little brother plays drums and piano. For some reason, I didn't get the memo, so I just play bass.
Just working on stuff off the dribble a lot more. It's helping me create my own shot and freeing me up a little bit, being able to make plays and make shots.
'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.
I've had enormous luck and enormous pleasure in working in such forms as movies and plays that I loved when I was a kid and I just - because I could always write dialogue, because I always had a sense of how people spoke. And because I had a strong narrative sense; growing up and loving stories, loving novels, I just seem to know how to tell a story and I read a lot, I went to a lot of movies, I went to a lot of plays, and it rubbed off on me. And that's all. It just rubbed off on me.
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.
It honestly feels like high school or college all over again. You're comfortable; you see the game. You've seen a lot of ups and downs, a lot of good plays and bad plays. They're all in the back of your head. It's all just experience over the years. There are guys that play well as rookies, but it's hard.
Both my sisters and I were in Stage Door plays, and we did that together, just in, like, little small plays together. And we did that, and it was really fun, and we kinda did commercials, and it kinda took off from there. It was great; it's what I love.
When I was a kid I really liked the guitarist of The Doors [Robby Krieger]. He plays blues, but he plays a lot of melodic things. He plays scales that are kind of unusual, and some bent notes.
I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
I get a lot of people saying to me, 'Oh, you're the actor who plays the nutters,' and I'm not. I'm the guy who plays human beings. I understand why the characters are doing what they're doing. When you play a villain, you don't play a villain: you play a human being doing what he thinks he needs to do to get what he wants.
Pretty much just stay humble. And continue to work hard and let the game come to me and try not to make even more plays or jump plays. Just let the game come to me and play my defense and my responsibility.
I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
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.
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