Pastoral Resources

I've heard people say it looks as if I don't care and I've certainly read that, but the way I play is natural. I don't think I can change it. I know I'm working as hard as the next man, even if it doesn't always look that way.

If we had a starting XI that no one could argue about it wouldn't say a lot for English football. We'd probably be on a downward spiral. It's good that people have different ideas about who should play.

I expected to get drafted. I knew that I wouldn't get drafted on that first day due to the fact that not a lot of people had the opportunity to see me play much.

If we can play like that every week we'll get some level of consistency.

With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.

I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.

I think a lot of the instincts you have doing comedy are really the same for doing drama, in that it's essentially about listening. The way I approach comedy, is you have to commit to everything as if it's a dramatic role, meaning you play it straight.

No one should be allowed to play the violin until he has mastered it.

He played the King as though under momentary apprehension that someone else was about to play the ace.

My father assigned me to keep his scrapbooks. At first I was interested in reading only his rave notices, but I got interested in reading what the critics were saying about whether the play was good or not.

My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.

So, did I work with Warhol? I worked with him less on that play then I did on other things. He actually did a portrait of my rabbit and some other stuff. Warhol was definitely... Warhol.

It's a lot of fun to play someone you don't normally think of yourself as.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.

I play piano and trumpet. I studied classical guitar.

I might have a guitar or a piano on set to play something for the actors.

There was interest from clubs in Italy and England, I believe. But I've never been attracted by the way they play in Italy. Staying in Spain was always my preference.

I used to get 15-20 bunt hits a season. Now, I'm down to five or six. Infielders still play me in, but I'm always looking if the opportunity is there.

If I'm not afraid when I'm reading a script, that means I know I've done it before. If I read something and think, Wow, I can't play this part, then I want to play it more.