But I think that any young drummer starting out today should get himself a great teacher and learn all there is to know about the instrument that he wants to play.

There were so many individual styles thirty or forty years ago.

Well, I never really practiced because I never had the opportunity to practice.

But, when you have to resort to turntables, trick lights, flashing lights, fire and all that, you're actually saying, I need this because what I do is not all that together.

But primarily, the drummer's supposed to sit back there and swing the band.

I think it's a fallacy that the harder you practice the better you get.

So, practice, particularly after you've attained a job, any kind of job, like playing with a four piece band, that's... an opportunity to develop.

You only get better by playing.

And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.

It takes us about four or five days to get an album out.

I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.

To have everything written for you... It's not really creating. That's why I think symphony drummers are so limited. They 're limited to exactly what was played a hundred years before them by a thousand other drummers.

They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer.

I consider every drummer that ever played before me an influence, in every way.

But I think that any young drummer starting out today should get himself a great teacher and learn all there is to know about the instrument that he wants to play.

Every drummer that had a name, had a name because of his individual playing. He didn't sound like anybody else, So everybody that I ever listened to, in some form, influenced my taste.

So, to come In with a set routine it's something I've never believed in. It should depend on how you feel, because you play what you feel.

I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.

I can't sit down long enough to absorb any kind of learning.

Almost everything I've done, I've done through my own creativity. I don't think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.

If he's a true symphony artist, he knows better than that because he knows that the only truly creative musician is the jazz musician.

I can think of a lot better things to do with my hands than to cut them up on the rim of a drum.

I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.

And, you know, I think the original recording of Ravel's Bolero, probably whoever played percussion on that, will never have It played better than that.

But, I don't think any arranger should ever write a drum part for a drummer because if a drummer can't create his own Interpretation of the chart and he plays everything that's written, he becomes mechanical; he has no freedom.

I mean, I think I liked every band I ever played in because each band was different, each band had a different concept, and each band leader was different... different personalities and musical tastes.

But primarily the drummers supposed to sit back there and swing the band.

Average band with a great drummer sounds great great band with an average.

Average band with a great drummer sounds great great band with an average drummer sounds average.

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.