I've never really been nervous about any concerts. I enjoy it so much. All that matters is getting the songs played well, trying to get them to sound as close to the record live, which isn't easy, because my music is quite complicated to play.
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 attentions of others matter to us because we are afflicted by a congenital uncertainty as to our own value, as a result of which affliction we tend to allow others' appraisals to play a determining role in how we see ourselves. Our sense of identity is held captive by the judgements of those we live among.
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.
In the normal play of our mind there are all sorts of perversions; hence the need to stop all these things and inculcate right thinking, right willing - in other words, Truth must be established.
And, in the future, while the dumb show of bohemianism plays itself out in the cookie cutter shape of the politically correct martyr/victim, aesthetic terrorists will not involve themselves in the dubious rewards of celebrity. The best of them will work alone, already a part of the enemy camp, and in chameleon-like style master the fifth-column algorithms to subvert the ancient regime. We won't know them by their name but their compensation will be to affect the outcome of the planet. Until then, there's a lot of work to be done.
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.
There is a place for everyone, man and woman, old and young, hale and halt; service in a thousand forms is open. There is no room now for the dilettante, the weakling, for the shirker, or the sluggard. From the highest to the humblest tasks, all are of equal honor; all have their part to play.
Nobody plays this life with marked cards, so sometimes we win and sometimes we lose. Do not expect anything in return, do not expect your efforts to be appreciated, your genius to be discovered, your love to be understood.
Low comedies are written for the drawing-room, the kitchen and the stable, and if you cut out the kitchen and the stable the drawing-room can't support the play by itself.
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.
One kind of justice is that which is manifested in distributions of honour or money or the other things that fall to be divided among those who have a share in the constitution ... and another kind is that which plays a rectifying part in transactions.