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This is something I've wanted to do my whole life is play baseball, and I think just the opportunity to put on a big-league uniform every day is just... you know, people dream of it, but not everybody gets to do it. I'm thankful every day I get to do it.

Look good, feel good, play good.

Today, Negroes play on every big league club and in every minor league. With millions of other Negroes in other walks of life, we are willing to stand up and be counted for what we believe in. In baseball or out, we are no longer willing to wait until Judgment Day for equality - we want it here on earth as well as in Heaven.

I am trying to write a play that is big and I feel represents me - that's my big ambition.

I wrote my first play because I wanted to try directing something, and I couldn't afford the rights - it was an adaptation of a book called 'The Wave' by Morton Rhue.

My all-time low is 62 at Bel-Air, but it was in match play, and I had two putts given to me from four feet. I'm playing only about once or twice a month. Full-time job. Full-time father. Full-time blonde.

I was sent the script for 'Silver Linings' when I was doing a play in D.C. at The Kennedy Center with Cate Blanchett and I was sent the script and asked if I was interested, and I said 'Oh, boy am I!'

I think there's this idea that if we put up a play with all African-Americans or all Latinas, or even if we mix it up, then it won't really sell to a mainstream audience. At the end of the day, what's going to drive the story being told is what's going to drive people to the seats.

There was more fuss made about Colin Powell being made general in America than there is about Othello being a general in the play.

There's always a subtle shift that happens in any play I've done that's come to New York, or that's toured, even. The audiences pick up on very much the same things as the London audiences, but there are subtle differences and shifts.

I'd like to one day be able to say, 'I was in more than one play on Broadway.'

In the Premier League you know you'll play a certain amount of matches so you can always think 'I'll put it right next week' if you lose.

Here in Argentina, it is easy to practice and play because we have the horses, the land, the players - everything.

Play well with others.

Whatever play is called, I go run the route.

It doesn't matter what play is called, you have to run that play and you have to be successful on it. It just comes down to execution, all 11 players doing the right thing.

It's the same thing as a competitor with anything whether it be a play, an injury, a distraction. You just put it behind you, you take the situation for what it is and you control what you control and the people that do that the best are usually the more successful team, person, individual, what have you.

As a competitor, when you have a bad play, all you want is to get the ball again and get going.

I'm going to try to go out and do my best, and I'm going to try and compete every play.

It doesn't matter what happened in the season or what happened the last play, there's always an opportunity to make the next play.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, 'Well if I'm going to fight against this, I should learn how to direct.'

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