There comes a point in many people's lives when they can no longer play the role they have chosen for themselves. When that happens, we are like actors finding that someone has changed the play.
The only thing I have never done is a Broadway play. I'm not sure I have the discipline necessary to do a Broadway play. I know it holds a fascination for certain actors.
I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.
As a kid, I played my share of football in the street or in a vacant lot. When we were playing in the street, it was more touch football, so we didn't hit each other into cars.
When I played, I never needed the spotlight, nor did I want it. I simply wanted to play baseball and be respected by my teammates and the opposing players.
My first conscious thought of 'I should be like that and not like this' was probably at about six, and I was playing with... I have a twin brother, and we were playing with our twin cousins, who are a boy and a girl.
An actor should be ready to play any role within reason. For example, I think the most ridiculous thing for me to do would be to try and play Shakespeare.
When Bound was released, Boys don't Cry wasn't out yet. Therefore it was very taboo to play a lesbian. I loved the part, because girls never get to play the typical guy parts.
I listen to everything that comes in. I'm not real worried about demo sound quality. I can hear through that sort of thing. If a band can play, then they can play.
It's easier when you play. You get your emotion out. You scream. You yell. You do whatever you want. You play. But it's tough to sit.
You're looking for players whose name on the front of the sweater is more important than the one on the back. I look for these players to play hard, to play smart and to represent their country.
After playing with Rob Zombie, I was ready to go, 'OK, this is as far as I'm taking this bass-playing thing. This is the end of the road.' I was ready to kind of hang it up.
You got to play the flute as a flute, like that. You can't play like a tenor concept on soprano; it sounds wrong. But some guys do it, and they think it's O.K., but not so!
You can learn a lot when you play in a little town in Holland or Western Australia, and you learn different things than you would learn playing a big city.
There were butterflies, otherwise, you're not really ready to play. The locker room, I remember, was quiet and we were very focused on playing that game.
I play a lot of, maybe a little bit, cartoonish people. I've been a Bond villain, and I play a lot of villains, people who want to take over something.
Throughout my career I have been pretty successful, I've played for some pretty big teams, represented my country quite a few times, and played for managers without sentiment.
I think what helps me when I'm working on a play, any play, is the degree to which the writer has truly visualized, and then fulfilled, the vision of the world that he or she is creating.
When I play, I very quickly put myself into a light hypnotic trance and compose while playing, drawing directly from the emotions.
If I'm not moved by what happens at the end of this play, then I've completely failed, and so has the play, and so has our production. And if that's the case then there really isn't any reason to want to do it.
I really do miss playing basketball. I don't play a lot of pick-up games. But I do like using basketball as a form of cross training.
