A Quote by Scott Ellis
When you're working on a play like 'Sloane,' that play works; you don't have to worry about that. When you're working on a new play like 'Little Dog,' you have no clue if the play works. You're exploring.
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I had that small injury on my ankle, but I know that I am not playing like I used to play and like I have to play. So I have to keep working and try to play much better.
The Frenchman works until he can play. The American works until he can’t play; and then thanks the devil, his master, that he is donkey enough to die in harness. But the Englishman, as he has since become, works until he can pretend that he never worked at all.
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 feel more comfortable where I play for Colombia because I like to be closer to the goal; that works better for me. I can score and pass from there. But as a player, I have to be prepared to play in any position.
I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.
When i play in Las Vegas I play for money, when I play in Miami I play for holidays but when I play in #India I play for Love
When you play Futures and Challengers for three, four years, you're playing in obscurity. You play the game for other reasons. You don't play the game for money or attention. You play the game because you like to play. You play the game because you enjoy the journey.
Play with heart; Play with passion; Play within yourself; Have fun; Play like a champion.
That's the difference between working on film and working in a play. In a play, you work on it, and you live in it and develop it and make it happen.
One of the things I loved about working on 'Portal' was that we'd get emails from people saying, 'I love to play first-person shooters but my girlfriend won't play them with me. But I got her to play 'Portal' and she had a blast.'
There's only one way to play this game since I was a little kid - play fast, play physical, play strong.
Always, when I do a play, there's got to be an equation of risks and potential failure. When you're working on a new play, it's like, 'How the hell do I do this, and do we have the time?' All of these huge questions engage, hopefully, the smartest part of me. And then when you're doing a revival, I went, 'Well, somebody's already solved it.'
The spirit of playful competition is, as a social impulse, older than culture itself and pervades all life like a veritable ferment. Ritual grew up in sacred play; poetry was born in play and nourished on play; music and dancing were pure play....We have to conclude, therefore, that civilization is, in its earliest phases, played. It does not come from play...it arises in and as play, and never leaves it.
It works for me, the way I play drums and the things I do but I also would like to know proper technique. Mainly for health - to last longer, be able to play longer.
It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.
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