Pastoral Resources

I love to play with Tony and Bill anytime, anywhere.

If Bill jumps into something that relies on a lot of cymbals, I'll jump into something that relies on a lot of skin sounds; if he goes into metal tones, I'll go into wood, and so on. I basically play in his holes.

Very often, if I know the orchestra doesn't know a piece or it's a new piece, I have main ideas about it. But then we start to play and I never talk about places where they played so beautiful and so clear in the beginning that there is nothing to say.

If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.

I always imagined that to bring an orchestra to play together is not enough for a conductor.

Being an actor myself I realize that all actors believe they are qualified to play any role. If you showed me a script with a black woman character I would tell you that I could do it. That is what we do. We act as if we are someone else.

There's another girl who was going to play Hilary Faye and luckily she wound up not doing it.

My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.

So I really did stop and change what I saw I was about, and really try to put that principle into play as the center of everything - my friendships, my marriage, my career, my family, my way of being in the world. And that changed everything for me.

I'm not just gonna go after the black Jesse Jackson they all want to make fun of, but I know the wrong people are gonna laugh at that. I don't want to play to that crowd. I don't.

For a London play, rehearsal time would be four weeks for the entire show. In films, I'd spend six weeks on the big dance numbers to get them perfect before the actual shooting.

The players get no respect around here. They give you money, that's it, not respect. We get constantly dogged and players from other teams love to see that. That's why nobody wants to play here.

We do play to our audience. It's very important. You can't create music in a vacuum.

I just want to be able to play as fast as my brain goes, and my brain doesn't go all that fast.

It requires greater courage to preserve inner freedom, to move on in one's inward journey into new realms, than to stand defiantly for outer freedom. It is often easier to play the martyr, as it is to be rash in battle.

I also went to art school and learned to play a piano there, but I play by ear.

I'm getting to a point where everything is becoming streamlined in my life. I'm learning how to stand onstage for two hours and play in front of thousands of people as if I am completely in the moment every moment.

Teach a child to play solitaire, and she'll be able to entertain herself when there's no one around. Teach her tennis, and she'll know what to do when she's on a court. But raise her to feel comfortable in nature, and the whole planet is her home.

When I got to professional ball I used to play 150 games every year. It depends on how many games there was.

Maybe I was born to play ball. Maybe I truly was.