Quotes About Performance

I don't know other couples that work together a fraction as much as Nick and I do. We met in a play, and we've done TV and movies, and we just did 'Annapurna,' our off-Broadway show, and we've done theater together several times, so it's just a little bit of everything.

I didn't smoke. I didn't smoke then, and I don't smoke now. We worked every day - that keeps you in pretty good shape. We could go for a long time in one take. You had to be in good shape with Gene Kelly.

Carlos Sosa, the saxophone player for Zac Brown Band, and I worked up two songs for 'When You're Feeling Sick.' They were a blast to work on. The songs are real upbeat and silly.

So, I just kind of played the way I played and then eventually we kind of figured out what worked best for the band. So, I definitely changed my stuff up and I think we're playing really tight now.

I went to this vocal coach, Ron Anderson, who has worked with Axl Rose and Chris Cornell, to train my voice and learn a whole new way of singing.

No, she is right up there with the best I've worked with. I was very impressed with her, I really was.

Teller and I worked Renaissance Festivals and street performing - actually more real, no kidding around, Philadelphia street performing than we did Renaissance Festivals.

I probably worked every single entertainment medium, including some that don't exist. I worked the circus, carnival, I had my own medicine show, I worked 18 years of radio.

Bette Midler is this sort of laser-precise whirlwind. We only worked together for two days, but her precision, before even shooting, was remarkable.

I often explain it to people that if you listen to a Who record and then go see the Who live, it's like two different bands. That's how Humble Pie worked. We were definitely a lot more ferocious live because of the energy that the entire population of us had.

In 'Mr Shrimati,' I had a long role as a woman. A cabaret number was also picturised on me. I really worked hard in that film and feel that to date, no man has matched my level when playing a woman.

I worked with Nick Hurran when I was 15 and had to remind him of this. I did a drama for ITV which he directed.

My first performance was in second grade with my friend Rodney Fisher, and we worked up versions of 'Long Tall Texan' and 'I Want to Hold Your Hand.' It gave me a little early confidence that I could actually do this music thing.

I offer my performance as prayer for someone I've worked with as an actor or someone who has died. The image that comes into my head as I walk to the stage, I offer that performance up for that person.

In 'Boondien' I worked with a band where everyone had their own instrument to play.

It was a real honor to be able to work with someone like that that I've been watching since I was a kid. I mean, to play his brother left some people scratching their heads but something about it really worked.

But I've sure worked at jobs where I have been under inspection.

'Dogfight' is my favorite thing I've ever worked on. It's such a special piece, and I'm so close to the character of Rose. I loved doing it every night.

'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.

Playing in front of 25,000 people and millions more on television, and performing and doing what I worked so hard to try to accomplish was, in my opinion, the ultimate. Do I miss it? Of course I do.

When some people get parts, they feel they can now relax, but for me it was always the opposite. Sometimes before I do a movie or before I act out a scene, I may not sleep well the night before. If I don't know what the scene is about, I might get all worked up.

I worked with a guy, I can't think of his name, him and his wife, and one of them had a saxophone and the other played drums. It wasn't a regular job but I did a few gigs around home with them.

Fitness is also something I have worked on, especially because I know I have to bowl a lot more if I want to play for the country.

Then, in 2000, John Reid, Elton John's former manager, asked me to audition for the stage version of The Graduate he was producing. So I worked on it, got the part, and after three weeks' rehearsal I was on stage!