Is the destiny of the human species to sit back and play with our mouse and computer and imagine, fantasize?
Unless it's a flat-out farce, an actor can't play comedy on film.
Just because we are in wheelchairs doesn't mean we can't play a fast-paced, full-contact sport.
When I was 5 and playing against 11-year-olds, who were bigger, stronger, faster, I just had to figure out a way to play with them.
Small clubs aren't as lucrative, but spiritually, they're my favorite places to play. It's a homey kind of thing. I refer to it as the Church of What's Happening Now.
Australia is one of my favorite places to play - it's a crazy experience.
One of my favourite actors of all time, although he doesn't necessarily play villains, is Peter Lorre.
I was at the Wimbledon some time back and I saw Roger Federer play.
I ain't afraid to tell the world that it didn't take school stuff to help a fella play ball.
Just like how male actors get to play varied characters, I would also like to play characters that people don't normally see female characters portraying on screen.
My dream role would be to play a femme fatale in a Quentin Tarantino movie.
I've been playing sexually aware women most of my life. At this point I expected to be playing moms and wives. It's exciting to play a femme fatale.
I couldn't find an actor to play Freddy Krueger with the sense of ferocity I was seeking. Everyone was too quiet, too compassionate towards children. Then Robert Englund auditioned.
The first thing I wrote was a one-act play that got accepted at a one-act play festival, and I was in it along with Nathan Lane and a couple of other very good actors.
I always wanted to play festivals more than anything in Scotland.
Well, I guess the sexual abuse by Mel Phillips in a sense, he had a fetish for feet. He used to play with my feet and other kids' feet, and that was his thing.
I would drive to gigs in my tiny little Fiat. I would shoot up and down the M1 to play at various places.
It's one thing to play a character that's fictitious - it's quite another to play somebody that is alive and well.
Above all, in comedy, and again and again since classical times, passages can be found in which the level of representation is interrupted by references to the spectators or to the fictive nature of the play.
I was a Russian dancer in my elementary school production of 'Fiddler on the Roof' when I was in third grade or fourth grade. I was one of the younger kids accepted into the play, and the plays were pretty impressive, let me say.
