A Quote by Alice Ripley
I've always looked to that play, 'Virginia Woolf,' for a cue - as far as any cue I might need as an actor for inspiration or as a writer.
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The tip I would give is that once you play the shot, make sure your chin is touching the cue after you hit the cue ball.
One of the most difficult things I find as an actor is to laugh on cue. It is way harder than crying or other emotions. It's sometimes harder than yawning on cue.
I've always looked at guys who I've admired, like John Williams and Lalo Schifrin and Max Steiner, and looked at the choices they made and always try to take a cue from that.
It's easy to make a cue last a lifetime. Don't boil it or freeze it in the trunk of a car. Don't lean it against a wall for years. If you lose a game to a complete idiot, hit the edge of the table in anger with something other than your cue.
To apply spin with security, you must learn to make a snug bridge with your forefinger looped over the cue. When you hit the cueball, follow straight through; don't let your cue rise in the air after impact.
The situation has provided a cue; this cue has given the expert access to information stored in memory, and the information provides the answer. Intuition is nothing more and nothing less than recognition.
Think of Virginia Woolf, 'A Room of One's Own' - that's what women have always needed under patriarchy and can't be creative without. They took away my classroom and my status to teach, and now they have taken away my office, and all of it is giving the message that Virginia Woolf and I are losing what I call 'womenspace.'
There is no sex without a cue. People who date have their cues at home, before they meet. You think about where to go, what to eat, what to do and say. Sometimes the cue is short - - just before we reach the bar - - but sex is never just spontaneous. Spontaneity is a myth.
In all the years I've been playing, I've never considered changing my cue. It was the first cue I ever bought, aged 13, picked from a cabinet in a Dunfermline snooker centre just because I liked the Rex Williams signature on it. I saved £40 to buy it. It's a cheap bit of wood, and it's been the butt of other players' jokes for ages.
Unlike movies, on stage there are no second chances. Everything is live. If someone messes up, forgets a line, gives the wrong cue, you need to have the presence of mind to move the play along.
I am semi-ambivalent about being on camera - sort of low-key. I don't like being on camera stuff that much. I like radio and live performing stuff. I don't like the television stuff as much. Some people do. It takes a certain breed of cat. There is a ton of pressure and you need to read cue cards. I am not a good cue card reader. Being a poor reader was enough to make me not want to do that type of formatted show.
But countless studies have shown that a cue and a reward, on their own, aren't enough for a new habit to last. Only when your brain starts expecting the reward--craving the endorphins or sense of accomplishment--will it become automatic to lace up your jogging shoes each morning. The cue, in addition to triggering a routine, must also trigger a craving for the reward to come.
Would I have done anything different? I might have put a golf club in my hand instead of a cue. I love watching those guys play. Every situation is different, everything - every shot - has to be so precise.
The reason you might choose to embrace the artist within you now is that this is the path to (cue the ironic music) security.
The notion of the writer as a kind of sociological sample of a community is ludicrous. Even worse is the notion that writers should provide an example of how to live. Virginia Woolf ended her life by putting a rock in her sweater one day and walking into a lake. She is not a model of how I want to live my life. On the other hand, the bravery of her syntax, of her sentences, written during her deepest depression, is a kind of example for me. But I do not want to become Virginia Woolf. That is not why I read her.
Being an actor is easy, just picture someone in a room and you outside waiting for your cue to go in. Elliot Gould's been trying that for forty years.
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