In early 1993, a hostile observer might have had grounds for thinking that the Unix story was almost played out, and with it the fortunes of the hacker tribe.
There is a growing market today for local, organic foods produced by small farmers. And farmers' markets have played a large role in making that happen.
The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.
There are no major cities I haven't been in - at least once. I'd be just as happy not to go out of town for a couple of months and play with toys.
I think people like players they can relate to. It seems as if people think they know me. I just think I'm an ordinary Joe who plays golf very, very well.
A lot of things happened when I left there, and to be fair they treated me really bad, and now I have to play against them so I don't have any feelings for them at all.
I just feel that no matter what comes in a career - and mine has been all over the map - you must stay at the table, pick up the cards you're dealt and play them.
The same way that some people can play the piano, I can do plots! They just come!
I can play a man who's despicable. But I'll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.
I'm collector of stuff that people make with their brain. I keep them in little jars and I take them out and play with them sometimes too. The stuff, not the people.
I was a big fan of Jim Hall as well. I liked his comping style, his accompanying. And that he played, generally, four note chords, the top four strings of the guitar.
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.
Young people will tell you, if you're not prepared to write the most violent, the most misogynistic, the most horrible kinds of rhymes and scenarios, you are not going to get air play.
I'm not out trying to prove anything. I'm sort of finished with that, so I get to play in other sandboxes and try and figure out what I like and I'm interested in.
I think the diva is kind of a cliche. My definition of a diva is somebody whose talent does not match what they're trying to play, so all this temperament comes out.
All gut strings. That's just the first kind of guitar I played, it was a nylon string guitar. And to me, it's the purest form of guitar making, and I just enjoy doing it.
Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.
The poem is the literary form of the 21st century. It's able to connect young people in a deep way to language... it's language as play.
A while ago, I did a television adaptation of 'Bleak House,' and the character I played, as far as I was concerned, had no redeeming features whatsoever. I wasn't about to try to find any; I didn't need to.
My face lends itself to austere characters, and unless they're two-dimensional, I will do them. Any actor will tell you that an interesting villain is much more interesting to play.
You fool around with different pitches playing catch, but it's not the same when you've got to face some guy with a bat in his hand.
