Quotes About Stage

I had some friends that tried it down there, and I went to a couple of open mics, and I just kind of got this... this sick urge to try it instead of just watching it.

A cricket ball broke my nose when I was a kid so I couldn't breath through it. Before I had it operated on I used to stand on stage with my mouth slightly open.

Usefulness! It is not a fascinating word, and the quality is not one of which the aspiring spirit can dream o' nights, yet on the stage it is the first thing to aim at.

It wasn't just about flashing lights and pinball machines blowing up and things like that. It was about using encores, bringing back the good songs and using techniques that I knew about from rock performance.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

I've been using slide guitar, banjo, stuff like that for yonks. But if people haven't seen me live on stage, they wouldn't have heard me with these instruments.

In the usual progress of things, the necessities of a nation in every stage of its existence will be found at least equal to its resources.

One of the things I love about stage makeup is I get to play up my eyes even more than usual.

I can't tell you how important it is for people on the public stage to utilize that stage in a constructive, positive way. When you're in the public eye, you have a decision to make - whether you are going to be an influence or not.

At Burning Man, the audience is the show: the boundaries between stage and public overlap and melt. Every form of self-expression, every fantasy... everything has a place. It's kind of a utopia, and everyone who sets foot in it is so impressed that they do their best to respect it and keep it alive.

If your startup is only in the development or idea stage, there is almost no better predictor of failure - I mean, utter failure, scorched-earth bankruptcy - than raising too much money in the first round.

Sometimes when you're stood in front of 100 people, delivering a speech with rage and lots of emotion, that can be utterly terrifying. I find that very scary.

As much as I can act, I don't have anything in me that yearns to be an actor - that sense of needing to be onstage, in costume, in character; that is utterly not interesting to me.

At one point in the mid-Eighties I shared a promoter with the Smiths. One night, we were sitting backstage when Morrissey burst in, utterly distraught, sobbing his heart out. Turns out someone had thrown a sausage at him on stage during 'Meat Is Murder.'

'Va Savoir' is a lovable comedy about love that looks upon life as drama and uses the world of the theater as a staging device.

I don't think I'm vain... but I do like to be lit well.

It's a vain craft, acting.

At the time in our lives that we met, we had both made our mistakes. If chance would have had it that we would have met at an earlier stage, we might not have had the discoveries together that we did have and found those things in life together that were valuable to us at a later point in life when we were both more mature.

I know I'm not much on face value, but when it comes to stage value, I'll deliver for you.

So, there is no longer striking, nor work, but both simultaneously, that is to say something else: a magic of work, a trompel'oeil, a scenodrama (so as not to say a melodrama) of production, a collective dramaturgy on the empty stage of the social.

I'd gone through periods where I didn't work live performances for probably seven or eight months at a time.

To me, as long as we've known each other, I've always thought Mick's most brilliant thing was that he could work in an area two foot square and give a very exciting performance.

As soon as I step on that stage, nothing matters. I don't think of it as work. It's just so much fun.

It's every actor's dream to work in a hit show on Broadway and also shoot a television show.