Quotes About Play

I particularly like Strellson because I love one-stop shopping. I don't like going store to store. I want to go to one store: look, see, buy, go. But shopping takes time. If I have three or four hours, I play golf.

I got two stores, two streetwear stores, at home. Have to tend to those. Play Cloths. Have to tend to that business.

My alter egos have changed a lot over the years. When I was a child, I was a black horse called Storm. Whinnying and jumping over bamboo poles in the garden took up pretty much my entire childhood.

I remember trying to turn one of my Barbies into Storm, and I melted her hair off.

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

I was a theater actor back in the U.K., and you knew the whole play, so you could plot your storyline and character. And then I did 'Lost' and didn't know, and it was kind of frustrating, but I enjoyed it.

As a memorial, I'd like a statue. Not of me, but a little modern statue, in marble or bronze, maybe of a bird, in a park where children could play and people going by could see it. On it, I'd just like it to say: 'Maeve Binchy, storyteller' and people could look at the name and remember that they'd seen it somewhere else.

I trained with the American Theatre of Harlem, and by the grace of God, that was my foundation to understanding the art of storytelling and understanding that I'm blessed to be in a play.

For me, movies and television are interesting because they are the dominant storytelling form of our time. My first love will always be fiction, and especially novels, but I'm a writer... I write poetry and essays and criticism and I'd love to write a whole play, and sometimes I even write scripts.

I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.

My early days in Broadway were all comedies. I never did a straight play on Broadway.

I played in Joe Louis in a playoff game. I played there when the roof caved in for half a season. The facility is great for basketball because it goes straight up, so you feel like the fans are on top of you.

I come from straight theater.

I was a dramatic kid. I was always like, 'Watch me put on my play, Mom and Dad! You have to watch me put on all these outfits and do this play!' But my family is very academic and straightforward and normal Midwestern people, so the idea that I could act as an actual job wasn't really there.

On some levels, you can also have this feeling that we are being duped, somehow. And that the world is at play for something you would understand more if it were pure ideology. It is a very strange time and also basic things are being taken away.

Radio is a really strange business now, too. There's a very narrow door and a very few people control what gets played.

I was never a strategic guy. If I can play, I just want to play.

That's progress," McIlveen said. "What we think of as progress," she countered. "To the Yautja, we're barely crawling. Sometimes I think we're like deer and they're the lions, coming into the Sphere from time to time to just play." She blew onto her coffee, watching the small ripples and the drifting steam. "The things they've seen.

Change the music. What you hear, what you play. Maybe even who you are. Lets you fix things and the added bonus is it confuses the devil. Makes it hard for him to focus on you for a time.

The opposite of play isn't work. It's depression.

At the end of the play, the shrew is tamed (...). All good fun. Under the guise of comedy, the most horrible acts are perpetrated on a woman. It's a nightmare, because the sexism is so completely accepted - It is simply "the way it is". Nowhere is it questioned.

Tobin Hart calls play "the holy work of children" that helps them "find and define themselves."[2]

That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar.

Robert Maxwell had always yearned to manage a publicly quoted company, not just for the prestige but, more pertinently, to enable him to play with other people's money. The Maxwell Communication Corporation was that tool, marred though it was for him by a colossal defect: the legal requirement for public accountability.