I'm still waiting for someone to call me to cater their wedding. But that's gonna cost you. If you want my cousin Jerez to play the sax, that's going to cost you a little more. The sky's the limit after that.
I usually have a few coins in my pocket when I'm playing, but the one I use to mark my ball on the green is a special silver coin that my wife designed for me. It has our wedding date inscribed on it.
When we finally came to start work on this, the joy was it was only Joel and I, we didn't have to answer to anybody, and we didn't have to submit a screen play or anything like that. We just wrote it and then made it.
I tried singing. I tried playing a musical instrument. I really wanted to be a musician, but I never could quite pull that off. I liked entertaining, but I was always drawn to some kind of technical work - some kind of honest labor.
I'd never done a straight play before, never, and it was very hard work - really, really hard work. It was dense, really wordy, and I was determined to learn every word of it - not just skip over bits and pieces.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
It's just interesting that people don't really know about the roles that I play that are darker. I kind of do a huge blend of really big light things but also really dark indie things, and it just sort of happens to work out that way.
Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.
I wish I were brave, although I try. I work too hard and don't play enough. Too much work ethic, not enough 'fun'.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
So I started to relax and would work on my act eight hours a day, sitting at a desk writing at my grandmother's house, and I would put on Richard Pryor Live on Long Beach and would play it like a loop and think and write.
I have to work really hard, eight shows a week, to get a nice check as an actor. But when I write a play, and it's a - knock wood - hit, the checks come in for many years.
So, did I work with Warhol? I worked with him less on that play then I did on other things. He actually did a portrait of my rabbit and some other stuff. Warhol was definitely... Warhol.
I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
I led the state in defensive interceptions my senior year, with seven in nine games. Then I went to Montana to play basketball and found out quickly that my college career wasn't going to work out how I'd envisioned it.
Florida has its own rhythm, too. People go to work, they watch their children learn and grow and start families of their own. They play in the sun and pass their lives enjoying the outsized blessings that make our state unique.
During the final two weeks of training, our students work simulated game situations in which our staff members role-play as players, managers, and coaches. They are given immediate feedback following each camp game.
I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
My junior year, I was in a play at school and five days before opening night, I still didn't know my lines. Opening night was a disaster. I was so embarrassed. The director made me work backstage for the rest of the performance.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
Anybody can put things together that belong together. to put things together that don't go together, and make it work, that takes genius like Mozart's. Yet he is presented in the play Amadeus as a kind of silly boy whom the gods loved.
