I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
August WilsonRead
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I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.
Style is wearing an evening dress to McDonald's, wearing heels to play football. It is personality, confidence and seduction.
It's easier for me to get ready for a game on the road because you're expected to lose when you play away from home. That's a challenge to right there and that perks my competitive juices.
Ain't it just like the night to play tricks when you're tryin' to be so quiet?
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
Drugs is a government game, Bilal. A way to rob us of our best black men, our army. Everyone who plays the game loses. Then they get you right back where we started, in slavery! Then they get to say "This time you did it to yourself." I won't play that game.
I do not play chess – I fight at chess. Therefore, I willingly combine the tactical with the strategic, the fantastic with the scientific, the combinative with the positional, and I aim to respond to the demands of each given position.
For me, it's been liberating to put myself in the mind of a fictitious six year-old each day, and rediscover my own curiosity. I've been amazed at how one idea leads to others if I allow my mind to play and wander.
There are big lines between those who play video games and those who do not. For those who don't, video games are irrelevant. They think all video games must be too difficult.
On the field I'm trying to play for the glory of God but then also I'm trying to give everything I have and win and compete. And so I think more than just winning or losing, I think He cares about where our hearts are when we're playing.
The Master of Lifes been good to me. He has given me strength to face past illnesses, and victory in the face of defeat. He has given me life and joy where other saw oblivion. He Has given new purpose to live for, new services to render and old wounds to heal._x000D_ Life and love go on, let the music play.
My method of getting a play across the footlights is like a revolver shooting: every line has a bullet in it and comes with an explosion.
(Offensive Coach) Paul Hackett realized that Joe Montana knew more about the offense than he did, but when the meeting was over, Paul saw that Joe had taken three pages of notes. He documented exactly how Paul wanted to run the play, as well as all of the basics of it and its details. That's what a professional does.
You can't make a great play until you first do it in practice.
It was pitch dark. I could hear only the violin, and it was as though Juliek's soul were the bow. He was playing his life. The whole of his life was gliding on the strings--his last hopes, his charred past, his extinguished future. He played as he would never play again...When I awoke, in the daylight, I could see Juliek, opposite me, slumped over, dead. Near him lay his violin, smashed, trampled, a strange overwhelming little corpse.
Better to mock the game than to play and lose.
Irony is about contradictions that do not resolve into larger wholes, even dialectically, about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humour an serious play. It is also a rhetorical strategy and a political method, one I would like to see more honoured within socialist-feminism.
When you play, play hard; when you work, don't play at all.
What you've got to do is recognize that you don't control everything for a start, you've got to play the cards you're dealt, the hand of cards you're dealt, as best you can, and that's what I always seek to do.
If poets are the unacknowledged legislators of the world, science fiction writers are its court jesters. We are Wise Fools who can leap, caper, utter prophecies, and scratch ourselves in public. We can play with Big Ideas because the garish motley of our pulp origins make us seem harmless.
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