Quotes About Performance

By giving the public a rich and full melody, distinctly arranged and well played, all the time creating new tone colors and patterns, I feel we have a better chance of being successful. I want a kick to my band, but I don't want the rhythm to hog the spotlight.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

If you look at me in 'Ride Along,' even though I'm playing two different characters, my demeanor and my tone were not aggressive.

Beauty and fullness of tone can be achieved by having the whole orchestra play with high clarinets and a carefully selected number of piccolos.

When you are reacting to a good actor, your reactions become better. You get to know what to tone down and how to make yourself believe in those characters.

On stage you need to emphasize every emotion. But on screen you need to tone everything down and make it believable.

Much of a leader's responsibility in creating a positive, high-performance culture is setting the right tone and acting on it consistently. That day-to-day execution - the tenor and tone - really makes the difference. One deviation - one exasperating meeting - and the CEO legitimizes bad behavior.

That's kind of fuse for the show - those first 10-15 seconds you're onstage. The curtain drops and you see the crowd for the first time and they see you for the first time. The response and the energy that's going on right there - to me, that sets the tone for the rest of the night.

I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.

Tone is everything in TV.

It's hard being a Broadway actor going into film where you have to tone everything down. In theater, everything you're taught is to be big and broad and make everyone feel like they are right next to you, even in the last row of seats.

I would like to have a decathlon where all of my throws are really consistent and set the tone. That I'm good all-around, not just a speed and jump guy.

There are situations when, in your singing, in your interpretation of songs, for instance, when you want a straight tone. And I have to work really hard at getting a straight tone... That's sort of like if you have curly hair, you have curly hair.

I've been on shows where they're just setting it up, and they're trying to find the tone of the writing and performance. That's always a really chaotic period on shows.

The leadoff-hitter thing, I think, it's always nice to have an established leadoff hitter and to have someone who can really get on base and set the tone.

Comedy actually is quite difficult to do. The timing, the tone, the delivery, and the precise expressions are all very crucial, especially for actresses, because we are not given the author-backed punches.

At the end of the day, you, as the player, create the tone coming out of the amp. The gear is part of it but by no means all of it.

I think I'm at my best when I'm on the ball, I'm feeling the game, I feel free, and I'm setting the tone for the game.

Anytime you see the ball go in, especially on the first one, it's a confidence booster and sets the tone for the rest of the game.

Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.

In musical theater you have to be very big and very animated, while film and television are more toned down.

An actor has to be a complete package, he should have a toned body, know how to dance, act and do everything possible under the sun.

A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.

I'm not good enough to be playin' much acoustic guitar onstage. Man, you gotta get so right; I mean, the tones, the feel, the sound. Plus, acoustic blues guitar is just that much harder on the fingers.