A Quote by Stephen Nachmanovitch
If I "try" to play, I fail; if I force the play, I crush it; if I race, I trip. Any time I stiffen or brace myself against some error or problem, the very act of bracing would cause the problem to occur. The only road to strength is vulnerability.
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The problem with a lot of comedy clubs is not that they are a comedy club; it's just the cheesy way they're presenting themselves. That's why a lot of people have a problem with them. If you're a relatively unknown comedian, you can play at a comedy club, you might play to hundreds of people every night. But if you try to make a concert event out of it, and try to play a rock club or something, where you might play to 10 people or no people. And the flipside of that is, that's also a great thing, to play to people who are your fans. Some people are too hard on the comedy clubs.
Unfortunately, I only have time to play 15 to 20 rounds a year. I'm a 6-handicap but can play to a 16, no problem.
I try and stay out of the sun for the most part. I wear a hat. I play golf. And I wear a hat. But I've had no problem - no major problem - but certainly no problem with skin.
When you are solving a difficult problem re-ask the problem so that your solution helps you learn faster. Find a faster way to fail, recover, and try again. If the problem you are trying to solve involves creating a magnum opus, you are solving the wrong problem.
Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
It is well known that "problem avoidance" is an important part of problem solving. Instead of solving the problem you go upstream and alter the system so that the problem does not occur in the first place.
I would love to do some characters that have greater vulnerability. I don't know why. I know I can play these roles, but they're certainly not the only roles I can play.
As a writer, I've always believed that while my work and I myself are embedded in whatever period I am writing about, clearly I am sensitive to the winds that are blowing in the culture. At the same time, I have always felt that the issue was not to deal with the problem in the abstract, but to deal with the people who are in that problem. The emphasis is on the people. The general problem begins to resolve itself even before the play is finished.
The solution to any problem -work, love, money, whatever -is to go fishing, and the worse the problem, the longer the trip should be.
There is no solution to any world problem, to any national problem, to any city problem or to any local problem, unless and until people get their Realization.
I think it's relatively easy to play defense against a team that can only do one thing. Unfortunately, that's not what we're talking about here with Seattle. They have a great running back - they have a great group of running backs - but Lynch obviously is really kind of in a class by himself. The quarterback's a problem, the receivers are a problem, they have a good offensive line.
Revenge tries to solve the problem of vulnerability. If I strike back, I transfer vulnerability from myself to the other. And yet by striking back I produce a world in which my vulnerability to injury is increased by the likelihood of another strike. So it seems as if I'm getting rid of my vulnerability and instead locating it with the other, but actually I'm heightening the vulnerability of everyone and I'm heightening the possibility of violence that happens between us.
Take away human beings from this planet and life would go on, nature would go on in all its loveliness and violence. Where would the problem be? No problem. You created the problem. You are the problem. You identified with "me" and that is the problem. The feeling is in you, not in reality.
The Kurdish problem is not only the problem of one part of my nation: it is a problem of every one of us, including myself.
Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.
Part of my strength as an actor comes from what I've learned all these years: when you play a villain, you try to get the light touches; when you play a hero, you try to get in some of the warts.
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