I'm going to Yoshi's. I'm taking a few gigs. I'm playing. I'm not going to play all the time. I'm going to take it easy and take it slow and warm up so I can come back.
The call that always seemed the toughest to me was the slide and tag play at second. You can see it coming, but you don't know which way the runner is going to slide, where the throw is going to be, and how the fielder is going to take the throw.
You've got to love what you're doing. If you love it, you can overcome any handicap or the soreness or all the aches and pains, and continue to play for a long, long time.
Every role you play is literally - and I've said this before - every single role that you play, the only way you can connect to that character is because that was a piece of you that was scattered around that yard, almost like we got caught up in some whirlwind.
I'm not crazy about arenas just because I can sell them out. It doesn't do anything for my ego at all. I want to play places where people don't have to sit in the nosebleed seats and wonder what the hell is going on.
We were so fundamental that almost everything had been stripped away from the place of worship. Think of the role words can play, when all other enticements and sensual attractions are gone.
My earliest acting memory is making up a play for my mom and dad called The Lonesome Baby. I have no idea what The Lonesome Baby was about. I just remember the title. But I'm sure it was an epic.
I must tell you I take terrible risks. Because my playing is very clear, when I make a mistake you hear it. If you want me to play only the notes without any specific dynamics, I will never make one mistake. Never be afraid to dare.
I used to go with him and I'd sometimes play, take over from him. That was my first taste of the music business, I suppose, but I was also in the youth orchestra at Johnston Grammar.
