William Wordsworth Quotes

Writing is finally play, and there's no reason why you should get paid for playing.

Doing animation is closer to pretending than anything else you get to do. It's much more like when you're a kid putting on a character.

One reaches through to the continents and oceans of the imagination, worlds able to sustain anyone who will but play, and then lets the play deepen and deepen until it is a reality that few would even dare to entertain...The human imagination is the holographic organ of the human body, and we don't 'imagine' anything. We simply see things so far away that there is no possibility of validating or invalidating their existence.

Art originates in play - in improvisation, experiment, and fantasy; it remains forever, in its deepest instincts, playful and spontaneous, an exercise of the imagination analogous to the exercising of the physical body to no purpose other than ecstatic release.

We have access to more resources in general, and they are not going to force a situation on us, whether its the producer, or the cover, or what songs we have to play. And it's a small enough company that it seems like the people there care about music and not just about business.

That's the beautiful part about acting - you get to play somebody other than yourself. So, I'm open to people who can't sing, people who can, people that sing a little bit, or people that sing a lot.

If you do something and it proves to be a success, then people go 'get him to do that type of thing again, but only slightly different'. Either you do that or you go 'No! I want to play a leprous, lesbian dwarf from Guatemala!' But those parts just aren't coming to me.

I start writing, pull whatever images happen to occur to me and make up a story, instead of starting with details that are real and I know of and going from there.

When I paint, the Sea Roars Others Splash about in the bath

The best life is the one in which the creative impulses play the largest part and the possessive impulses the smallest.

I've always felt like an outsider across the board, since day one. The challenge has been to simply not pay attention to my outsider or insider status and just do the work and play the shows and connect with the people. And not even bother to play this game of keeping score, which is what destroys you.

I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.

I'm really just trying to do things that I enjoy. I'm trying to play music that I like to play and like to listen to. I just have to think if I like those different kinds of music, there are other people who aren't so different from me.

Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.

Imagination is like a lofty building reared to meet the sky; whereas fancy is a balloon that soars at the wind's will.

You don't get to celebrate yourself unless you risk being mocked or rejected. As an artist, you cannot play it safe. You just can't.

I don't decide. My secret self decides. I just go with my subconscious. If it wants to do a poem, I do a poem, and if it wants to do a play, I do a play. So I'm not in charge, I'm not in control.

The director works as an interpretive artist, but he's still an artist, so you also have to give him room to create and to put his vision of the play or his translation or interpretation of the material on the stage.

I dwell in possibilities... a fairer house than prose.

I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.

Lully's machine, Mill's fear and Lasswitz's chaotic library can be the subject of jokes, but they exaggerate a propensity which is common: making metaphysics and the arts into a kind of play with combinations.

There's always the danger that there are so damn many things that a playwright can examine in this society of ours - things that have less to do with his artistic work than have to do with the critical and aesthetic environment - that perhaps he does have to worry about whether or not he is writing too fast. But then also, perhaps he should worry about getting as many plays on as possible before the inevitable ax falls.

I play music - I write my own music, but I play music, just background music really, and just let it happen.

To show the relativity of what's good taste and what's not is something I like to play with.

Bryan Cranston has got such an incredible light touch. He comes in egoless, but with bold opinions, and he wants to play. He wants to play. And that's what I've seen in great actors all my life and what I've always tried to nurture and keep in myself is that joy of playing.