A Quote by Laura van den Berg

A sense of play is important when I'm writing, and so messing around with, say, a magic routine can feel like play, at least initially. — © Laura van den Berg
A sense of play is important when I'm writing, and so messing around with, say, a magic routine can feel like play, at least initially.
Writing is like a contact sport, like football. Why do kids play football? They can get hurt on any play, can't they? Yet they can't wait until Saturday comes around so they can play on the high school team, or the college team, and get smashed around. Writing is like that. You can get hurt, but you enjoy it!
I play the baritone horn - which is like a mini tuba, and is the least sexy instrument you can choose, and I generally say I don't play one so I don't have to acknowledge it. I also play fife.
I play the baritone horn - which is like a mini tuba, and is the least sexy instrument you can choose and I generally say I don’t play one so I don’t have to acknowledge it. I also play fife.
Yeah, I've always been accused of having a sense of mischief and I'm very flattered that you say you can see it in the roles I play, because I think that's important, even if I do play intense characters, like especially Christine Cagney.
Whether it's writing a monologue or writing standup or writing a screenplay or writing a play, I think staying involved in the creation of your own work empowers you in a way, even if you don't ever do it. It gives you a sense of ownership and a sense of purpose, which I think as an actor is really important.
It's not easy, but I play with my body, and I can feel how important it is to get 100 percent fit to play. This is an important thing to play in the Premier League.
Sometimes people are like, 'Do you want to play strong women?' I don't have to play strong women in order to feel like a strong woman myself, but I do feel it's important to play characters that are complex and interesting and believable.
It's important to play the pieces that you feel you can play well. It was always my dream to play Bach - my first love and fascination - Chopin, and Szymanowski.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
I always say writing a play is like toothache: I find it incredibly painful, and it's only once the play's out that the pain is gone.
Well 'Monday Night Football,' I think the players kind of like it because they like the attention, and it's a lot of attention. But on the other hand, it's a disruption of the routine we used to have to play on Monday night. If you're a player, you sit around all day waiting for a game. It's different than when you play at noon.
I feel like it's really important for an actor to play different roles so people can see, "Oh, he can play that guy or he can play this guy." You're not just "THAT guy," that cowboy guy, that whatever guy. Then you are limiting yourself.
The audience is not the least important actor in the play and if it will not do its allotted share the play falls to pieces.
As far as how important the real-life resonance of the stories is, I think it must play at least a small role in the show's success, because it gives the show this sense of suspense from the fact that it seems at least plausible.
So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.
There's a lot of psychology involved in my work, a lot of mind play going on when you try and convince someone to feel good about their bodies and have the confidence to walk down a catwalk naked when, initially at least, it's probably the last thing they'd plan to do.
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