If I'm playing a gig in London, it feels so important. The adrenaline rush here is bigger than anywhere else. I kind of like the pressure that London puts you under.
Every aspect of our lives plays out in two versions: one conscious, which we are constantly aware of, and the other unconscious, which remains hidden from us.
I don't know how many years I can still play. I have to listen to my body and see how it feels.
I really do not think about 'Oh, right now I have to defend those points and this title.' I just really want to enjoy playing on the court, in front of the fans.
My father used to act in high school. He was in a production of 'Othello;' I don't know who he played, but it wasn't Othello. He would talk about it, though, and read Shakespeare to me.
You learn fast from others how to be an entertainer as well as a musician; you don't necessarily have to get out there and just play - you can be an entertainer, too.
I'm sure my agents would like me to play leading roles, and I guess I should, but I'm more interested in the character parts. They're more fun, challenging and interesting.
There's a big difference between me and a real, legitimate working hand, or a world-champion rodeo cowboy. I play 'em, and I aspire to be like that, but those guys are tough.
'Pigeonholed' isn't the right word, because I feel like I've had a very wide range of characters that I've been allowed to play.
I would be surprised if there weren't some owners who didn't want to get a deal done right now and get back to playing hockey.
You guys know the way I play. And what's so ironic is, KG is the same way. I'm looking at him in practice and going, 'Wow, I'm always that guy,' you know?
There are a lot of actors who wish there was a next play, a next musical. As an actor, I guess that's all I can wish for - the next role, the next opportunity.
There's not an orchestra in the world that doesn't have weaknesses. None of us can play everything well. The repertoire is just too big.
The skill set for hockey is so specific to skating and if you haven't been skating as a kid it's impossible to play - and I wasn't a skater.
The range of the cello is so big, it can play as low as the double bass and as high as the violin. It has the perfect shape, and its sound is the closest to the human voice.
Before I had a record deal, I was living in New York and playing anywhere I could, from somebody's house to an open mic to coffeeshops.
Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.
Your plays are always personal. You can't help seeing yourself in the serial killer you've just written. But they get less specifically personal.
I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on the page.
Being Puerto Rican, born and raised on the streets of New York, you go, 'Wow, you're still friends with your ex, man? Really? That's weird.' I don't play that.
Alternative medicine plays into this exaggerated notion that you can prevent disease simply by doing the right thing.
