I hated improvisation because in my early days as an actor, improvisation meant somebody had just come down from Oxford and they were doing a play above a pub in Kentish Town, and the biggest ego would win.
Once you have traveled, the voyage never ends, but is played out over and over again in the quietest chambers. The mind can never break off from the journey.
He has all those different aspects to him, so I can more or less decide as a performer how I'm going to deliver a line in a particular scene, or play a particular scene in total.
I could dunk a volleyball in high school. I didn't play football because I knew they were going to put me at a fat-guy position, and I didn't want to do that. I am athletic.
I don't mind being stereotyped in some way and playing certain kinds of guys, but if I can find something to occasionally get a break from that, that would be nice. And I feel like I manage to.
Local companies don't have to internalize their costs, and few actually do, but they tend to more often because the owners live there and they have to show their face in town, and their kids play with other kids.
Of course, we didn't survive to play all the way through the '90s, so I can say that - as I said, everybody in the band was aware of this, and we trying to figure out ways to make it different.
Every piece has its own identity which we develop by the rule 'We know no limits.' We follow the inspiration of the moment and don't worry if what we're playing is alternative, progressive or fusion rock.
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.
I was certainly never conscious of 'playing the woman.' I would not have approved of that. It is not a winning tactic. I operated in the world as I found it, and it was a man's world.
Every album, I'm worried that I'm a dork and a fraud - 'What if I can't sing anymore?' Then I stop thinking and start playing guitar, and I realize that it's okay to suck, and move forward.
Shortly afterwards, I did a third one to repair the robotic arm of the station. This arm plays a very important role in the ongoing expansion of the station as well as in the deployment of solar panels.
If a leaf fell from a tree, I'd stop juggling and play with the leaf. I went to my prop bag and got a little bandage and stuck the leaf back on the tree. People loved it.
MLB has become overly active, actively involved in the game, the on-the-field game. They're trying to run the game the way they want to and you just have to play along with it, deal with it.
When you play this game twenty years, go to bat ten-thousand times, and get three-thousand hits, do you know what that means? You've gone zero for seven-thousand.
I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.
I don't believe in, and I am a devout non-believer, in playing new songs live if the subjected and pathetic crowd has not heard them before because I consider it like mass psychosis and genocidal.
If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.
I can't just wake up and watch TV and do nothing. I need a day off working out, seeing the wife, play a little golf, see my kids.
I continued writing the bad plays which fortunately nobody would produce, just as no one did me the unkindness of publishing my early novels.
Oddly, when I started to make the record, I wasn't aware I was making a record. I just was sort of disgusted with the whole thing and sequestered myself in the basement and started playing the piano just for something to do.
