Explore Quotes on Play

Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.

I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.

I think often I learn the most from other people's mistakes. If I'm in the audience watching an actor and thinking, 'I don't believe you,' I spend the rest of the play working out why I don't believe them.

It's a great luxury to have the writer with you on a new play because you can write and re-write, just trying to get the arc of the story, of their relationship right.

It is strange how your understanding of a play changes. It normally happens after a performance and you suddenly think, 'So that's what that line really means' - it's like a light going on.

Doing theater, I call it concentrated shampoo. You put a dime in the palm of your hand and you get a headful of lather. When you do a play, you're there for two and a half hours, and you live a lifetime.

I wonder if Shakespeare ever had to write a play in 10 days while suffering from jet-lag? Probably. It would explain why his comedies are so crap.

In their work, then, as in their play, men and women are more and more coming to share with each other as comrades, and really the fun of life seems in no wise diminished as a consequence.

I love a good play, but they're too hard to find.

The store experience must become a performance, with the energy and precision of a Broadway play.

The typical baseball play is a pitcher throwing a ball and the batter not swinging at it, while the other players watch. Even a home run, the sport's defining big blast, is only metaphorically exciting; a fly ball that leaves the yard changes the score but may offer no more compelling view than an outfielder staring up.

Almost any football play, even an off-tackle slant by a running back, offers the balletic beauty of athletic skill and the punishing drama of physical collision.

When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.

My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.

I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.

It was so emotional to step onto the Millennium Falcon set because that was the play set we all had when we were kids. Suddenly, you were standing in the real thing. There's this rush of unreality about it.

So what's so enticing about doing a play is that you get to do that thing that got you into acting in the first place... There's a real attraction to being able to play, to just play. And that's something that theater affords you.

I can kind of play the piano and I've got a drum kit which I've been meaning to learn. And I am going to teach myself when I get time.

I love Armani for his classic cuts at times, and then also like Manish Arora's madness and Roberto Cavalli's play of colors.

I do like match play. I like trying to match an opponent shot for shot. It's a challenge. And it's something different.

There are many actors who, whatever they do, they pretty much play themselves.