It's harder to play drums than guitar, physically. I'm always kind of on the edge. I guess that's how I play everything: on the edge of my ability.
I've kind of had to make a career of playing villains. In order to stay employed, I had to figure out how to play bad guys.
I don't usually get to play fathers or grandfathers or uncles. Now that I'm older, maybe I can play people closer to myself. I'd like that.
I played a killer twice. Once on 'Matlock,' on Andy Griffith's show, I got to play the killer.
Elvis wore a halo. Otis Redding did, too. You knew you were playing with a star when you played with them.
We still haven't played Madison Square Garden. That's a benchmark. Something will have gone seriously wrong if we don't play Madison Square Garden for this album.
I started playing with a group of young people when I was 13. I turned professional when I was 15 and I played dance halls, this on bass guitar.
So we are pretty convinced we don't want to play huge stadiums unless we can play them well.
Dorsey played the upright bass and steel guitar, as well as acoustic guitar. Johnny played acoustic guitar and together they were fabulous songwriters and singers.
Playing Willie Loomis was really fun for me because it was something nice and different to embody. It was neat playing this drunken servant who was hypnotized by Johnny Depp.
That's always - that's been another dream of mine, to do a Broadway play. An award winning Broadway play.
I'm a football guy at heart; maybe I should have played football for a living instead, because I play a lot of football videogames; I'm really into them.
If you're going to make a musical, don't cartoon it from the play. Make it better than the play. Have a reason for making it sing.
I was a little bit wary of playing Nicholas. In the script, which I think is true of the novel and the film, he's the only character not singing and dancing in a musical style. Playing someone who is the personification of good is a little difficult.
We could play them through the week, and then the weekend we could play the black joints. I learned to be very versatile and learned to love it. So it stays with me even up to now.
To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
And Clinton was like that - he saw the whole playing field. He didn't just see the event that he was at or the circumstances of that week or that month. He saw the whole playing field all the time.
Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.
I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.
All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.
