There's lots of charity stuff that I can do. There are actually a million things to do here, but it would be very hard for me to stop going overseas, because I've been doing that for longer than I've been playing in the WNBA.
I'm not the sexiest thing in the world, I feel actors who have to 'play' sexy lose all their sex appeal. When they start with the tongue and the heavy lids, it looks so ridiculous. I think you just have to be yourself.
Obviously you have to have talent in order to play so you can't overlook that, but we won't overlook the character issue when it comes to talent because if they have talent and they don't have character, it's going to be very difficult to coach that ...
'Saw' is like a big jigsaw puzzle. When you put a jigsaw puzzle together, you put the bottom left corner together first, and then you find yourself working on the upper right corner... That's the way 'Saw' plays out.
One night all the James Brown band was playing on stage and I look in the back and I could see Mick Jagger and Keith Richards trying to get in the club and they couldn't get in cause it was to crowded.
I got my first television at Stanford when I was 20, and I used to watch 'The Dick Van Dyke Show'. He played my father on 'Becker,' and he's still one of my heroes. Along with John Cleese, he's my favourite physical comedian.
While actors play with guns for make-believe, the guns themselves are by no means make-believe; they're real. Even when the actor is using blanks, there are all kinds of safety protocols to follow when shooting one at someone. Pulling the trigger is ...
Several technological and political forces have converged, and that has produced a global, Web-enabled playing field that allows for multiple forms of collaboration without regard to geography or distance - or soon, even language.
I enjoy doing martial arts films, but I like the straight stuff, too. I'd like to go back and do some Shakespeare, and maybe knock out a play or two. It's all about keeping balance.
In my house, when I don't bring any makeup, when wearing comfortable clothes and when I'm playing with my kids, that's the moment where I feel the most beautiful.
When you play professionally, you get accustomed to turnover. Players come and go - they get injured, they get transferred, they get cut from the team. Coaches are hired, and coaches are fired. It's just part of the world you live in.
The Oakland A's, I loved all my teammates there. I loved all the coaches. They gave me the opportunity to play in the big leagues. And for that, I thank them. I mean it was a dream come true for me.
And then it was like, wait, you can go to college and study theater? And act in plays? This is almost a racket, you know. And then when the opportunity came along to do it professionally, I thought I'd won the lottery.
What I know is that if you're going to play half-court, you'd better have the greatest executioners of half-court basketball. If you run, you test the stamina and willpower of the other team. That's what I learned as a player.
My early influences were the Shadows, who were an English instrumental band. They basically got me into playing and later on I got into blues and jazz players. I liked Clapton when he was with John Mayall. I really liked that period.
I still have my old Nintendo 64 that works. And I hook it up, and I still play the original 'Goldeneye.' I'm that geek. I have an 'NBA Jam' arcade machine in my office at 'SNL.'
One of the things I learned in 'Slavs!' is that it's much easier to talk about being gay than it is to talk about being a socialist. People are afraid of socialism, and plays that deal with economics are scarier to them.
I was honestly a cartoon kid. I loved cartoons. That was more my dream than anything else. But now, it's the films of people like John Cassavetes and Gena Rowlands. Those are the kinds of characters I want to play, and that's the kind of filmmaking I...
In , the classic concept of the individual with a solid, coherent identity is eschewed for a model of identity which sees the individual as a kaleidoscope of heterogeneous impulses and desires, constructed from multiple forms of interaction with the ...
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and...
I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.
