Pastoral Resources

I've played heavies for years and years and years. I was bald. I came to Hollywood. I did a play about junk. I was a pusher, so I played pushers for years and years and years. I did war movies and things like that.

We sat down and read it for the first time and I thanked God under my breath, because they were all so good. And my leading ladies are both exceptional. I mean, everybody in the play. I could just go on all night about them.

This is a group playing together and that's the only way, I feel, this play can be successful and moving. I am so lucky to have the people that are in it. When I came here I didn't know who was going to be in the play.

This is a group effort. This is group theatre. This is no big star turn. You could do things with it to do that but it would just be out of kilter. This is one reason I like this play. This is a unit.

I just love the hours of the theatre, I love the way it operates. I always say that when you're doing a play it's like getting a shot of B12, and when you do television for a long series you need a shot of B12.

I always think that I love doing what I'm doing at the moment. The past is over. I can't go play one of those characters again. But I can play this and I can continue to grow in what I'm doing at the moment and that's really what I'm thinking about now.

Still, most of those effects occur in the context of harmless play and it is patently obvious that children are not normally turned into aggressive little monsters by TV or video games, since most children do not become aggressive little monsters.

If I like the story and it's well written, and it's a character I want to play and they'll pay me, then I decide to do it.

If they want me I'd love to come back. I'm not going to play because I can, I'm going to play because I deserve it.

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

Beauty and fullness of tone can be achieved by having the whole orchestra play with high clarinets and a carefully selected number of piccolos.

It's a really unfair world because life is, where I am; all day long we listen to American music. So I don't see why the radios in the U.S. cannot even put aside one hour a day just to play music that is not American.

I came to America to become an architect. And somewhere along the line while I was still in school, I was lured into theater, and that's how I became interested in theater. My first play was something called 'A Banquet for the Moon.' It was a weird play.

I'm a workaholic. I love every movie I've been in, even the bad ones, every TV series, every play, because I love to work. It's what keeps me going.

I think we're a deeper team, a better team, we still have work to do... nothing is guaranteed, but hopefully we got the mentality to play on the road, and we're starting to get our home thing back in order now-if we can do that we'll be just fine.

We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.

I do not mind having written the song at all. I just wish that I had written it in a different key, as the high d is hard to play. I am glad that I wrote something that brought joy to millions of people.

My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.

In my fantasies, I always wanted to play the ingenue, but in reality, in my bones, I am so used to playing the grandmother that I don't feel safe or even sure that I can do it.

I think the play actually became bigger than me. No pun intended.