When you want to put something into your part that is not in the play, you must ask the author-or some other author-to lead up to the interpolation for you. Never forget that the effect of a line may depend not on its delivery, but on something said earlier in the play, either by somebody else or by yourself, and that if you change it, it may be necessary to change the whole first act as well.
The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.
We are slowed down sound and light waves, a walking bundle of frequencies tuned into the cosmos. We are souls dressed up in sacred biochemical garments and our bodies are the instruments through which our souls play their music.
In foreign affairs we must make up our minds that whether we wish it or not, we are a great people and must play a great part in the world. It is not open to us to choose whether we will play that great part or not.
In other ways, you constantly have to change people's opinion of you as one thing, especially if you want to play different roles. You have to shatter that image sometimes. I've had to do it before with stage roles, to get roles. I'm drawn to kind of darker, misfit things. I would like to, especially in film, play against type and do some heavier stuff. I'm intrigued by projects that deal with problematic people and things.
You are an instrument of God. Don't leave the instrument sitting in its case, my son. Play! Leave no part of your instrument unexplored. Why settle for 'Three Blind Mice' when you can can play the 'Gloria'? No, not Bach's 'Gloria.' Yours! Your 'Gloria' lives within you. The greatest sin is not finding it, ignoring what God made possible in you.
The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
The navel region is the centre of the vital. It is from here that the movements of the vital rise upward. Above the navel and behind the chest is the centre of the play of emotions and below this takes place the play of the physical. Mulādhāra is the base of the physical. In between the Mulādhāra and the navel, there is another centre of the vital.
I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.
Rumour is a pipe Blown by surmises, jealousies, conjectures And of so easy and so plain a stop That the blunt monster with uncounted heads, The still-discordant wavering multitude, Can play upon it.