The all-embracing vast being which is there behind the play of the universe and with which you will have to identify yourself - for this is your true self.
The virtue you would like to have, assume it is already yours, appropriate it, enter into the part and live the character just as the great actor is absorbed in... the part he plays.
You look at Ray Lewis, you look at Brett Favre. I know it's different positions, but you think about the mental mindset it takes to continue to grind and play at a high level. Those are the guys that I look at that motivate me.
Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
QUINCE Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.
In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin.
For suppose that every tool we had could perform its task, either at our bidding or itself perceiving the need, and if-like the statues made by Dædalus or the tripods of Hephæstus, of which the poet says that "self-moved they enter the assembly of the gods" - shuttles in a loom could fly to and fro and a plectrum play a lyre all self-moved, then master-craftsmen would have no need of servants nor masters of slaves.