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I went online with winelibrary.com in July of 1997; that was my first professional online play.
You're just trying on different identities, like everyone in those Shakespeare plays. And the people we pretend at, they're already in us. That's why we pretend them in the first place.
I was all limbs and I was very convinced that I must be uncoordinated, so I didn't want to try any sports. And the girls' basketball team was constantly like, "Please, please just come play."
Now with Pro Tools, you can play with layers and 100s and 100s of tracks. When we used to do it back in the day, you had one shot, or you would have to wipe it and carry on over that track.
You don't expect me to know what to say about a play when I don't know who the author is, do you? . . . If it's by a good author, it's a good play, naturally. That stands to reason.
The fact is that the intrinsic worth of the book, play or whatever the author is trying to sell is the least, last factor in the the whole transaction.
To a professional critic (I have been one myself) theatre-going is the curse of Adam. The play is the evil he is paid to endure in the sweat of his brow; and the sooner it is over, the better.
I do not want actors and actresses to understand my plays. That is not necessary. If they will only pronounce the correct sounds I can guarantee the results.
On an awards-show day, I can play basketball, go in, take a shower and put on a tux - it takes me three minutes to put on a tux - and be out the door in 15 minutes.
When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.
[Reading Swing Time] made me a feel a little bit like when I used to read David [Foster] Wallace. Like, "I can't play that game. I wish I could, but I can't do it."
Teddy Wilson, I think, said a little while ago that its much easier to come in and play whatever comes into your mind, without obeying any of the laws of bass line and harmony and so on.
The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men's genius.