I have the vanity to think that every play I have written is different from the previous ones. Yet, even though they are written in a different way, they all deal with the same themes, the same preoccupations. 'Exit the King' is also 'The Bald Soprano.'
I think there's a possibility that comic book movies are getting a tiny bit better on the one hand because they're no longer made by executives, who are, you know, ninety-year-old bald tailors with cigars, going, 'The kids love this!'
There's a certain type of indie fan who would balk at the prospect of there being value in pop music, but I think that's foolish. They're not really listening.
If you're nervous you think: 'I don't want to make mistakes or give the ball away.' But you limit your own qualities then.
I'm someone who takes on information quite well, so there's maybe a path into management. But I see what successful managers have to go through to get to that level - it's a completely different ball game - so I think I'll cross that bridge when I get there.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
I think if you're consistent in this league, you'll win a lot of ball games.
I think as the quarterback of any NFL team, you put a tremendous amount of pressure on yourself to win ball games because that's what you're here to do and ultimately, that's what you want to do.
A lot of people just think I'm a big man, but I'm a basketball player. I am able to do everything that a basketball player can do - from playmaking and scoring to just passing the ball and just being a leader and post presence.
But I was so wrapped up in sports growing up as a kid, that I think I was going to grow to be a pro ball player. But I found out real quick that was not going to happen.
I have to think that 'Nessa Dorma' is the greatest rock ballad that's never been recorded as such.
But I think beautiful is simple and elegant, like a ballad with simple harmony.
I do appreciate the '80s as an era, the general sounds and aesthetics of the era. The Cure, that whole kind of image is really kind of amazing, I think. The power ballads and how everything sparkles and words are really dramatic. Huge drums, things like that. I do really find it inspiring.
I think that the ideal physique and look of a ballerina is always changing with different eras. And it's continuing to change.
I think it's never too late to start anything, except maybe being a ballerina.
I think that having a platform and having a voice to be seen by people beyond the classical ballet world has really been my power, I feel.
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
I think all dancers are control freaks a bit. We just want to be in control of ourselves and our bodies. That's just what the ballet structure, I think, kind of puts inside of you.
I think that story ballets, as great as they might sell, they're a really dated and awkward medium to tell stories through. I think there needs to be an updated or different approach to storytelling in dance. There needs to be less of a separation between the storytelling and the dancing.
I think when I first started, I tried to make believe I was in the ballpark, sitting next to somebody and just talking. And if you go to a ballgame, and you sit there, you're not going to talk pitches for three hours.
