I got to play on a couple of records with the Rolling Stones, and that was really special to me.

I think we've always been better live.

We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

I loved Mal Evans holding one note down on You Won't See Me from Rubber Soul.

Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.

Jeff Lynne is an arranger, and I think it's probably much easier for him to go ahead and play a part himself than to try to show somebody else what he wants. But it's hard for me to say; I barely know Jeff.

I'm playing 10 feet from Mike Campbell every night. I look across the stage, there's Howie. Tom's in the middle and we're playing all this stuff I love. It's great.

If you call attention to yourself at the expense of the song, that's the cardinal sin.

Besides, I'm fairly incompetent. I can't play that fast.

I try to find little things that you can do to move the song along and things that serve the song.

I loved working with Bob Dylan.

Sometimes you work with somebody you've never heard of because you just feel like working.

Working with Waylon Jennings and Willie Nelson takes you up another level.

I don't know about five guys against the world. It's more like five guys against these three chords, and we're gonna wrestle 'em down no matter what it takes.

I got to play on a couple of records with the Rolling Stones, and that was really special to me.

You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.

Bob Dylan's not a hype and a haircut: he's the real thing.

I learned that the songs that mean the most to me are the songs that I write by myself. While there were people I wrote really well with, particularly Gary Nicholson and Delbert McClinton, and I really enjoyed the experience, I came away from it feeling like I need to write by myself.

I quit college and neglected to tell my dad.

I think I drift toward sad love songs.

I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.

I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.

I've always written songs since I was a kid - always.

In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.

What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.

Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

I'll play it and tell you what it is later.