Quotes About Performance

Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.

You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.

'Pootie Tang' may be raw and slovenly - hey, it often is raw and slovenly - but it succeeds as a laugh getter because of the spot-on satirical notes. You might say that the movie walks it like it talks it; I'm not sure what Pootie would say.

The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

I reserve the right to tell shaggy dog stories or even common jokes as part of what I'm doing. I don't give a damn if half the audience walks out.

I was playing a gig in Greece in September 2003 and this guy walks up to me and says, 'Hey Tiesto I just heard you play; you're amazing. I want you to play at the opening ceremony of the Olympics.' I looked at him, like, 'Sure pal!'

There's a certain relief to just being the guy who puts on the costume and walks onset and gets to prance or stomp around in a Ridley Scott or Baz Luhrmann movie.

I tell people all the time that producers, writers, and directors really don't know what they want until it walks into the room - you have to show them what they want. Everyone is rooting for you when you walk into the room. Everyone wants you to be good because it means their day is over!

I have to say, working with Dan Stevens in 'The Guest' and seeing his transformation was incredible. Also Kate Winslet. Off set, she's loud and sweary, but when she walks on set, she has this calmness and is so centred.

I know it looks like Burt walks through his movies, but he doesn't; he works hard to make it look that way, and the work is tough.

Adopting mannerisms is called mimicry. That is not a good way to do things. You don't start to imitate somebody, the way he walks and talks, that is a very irrelevant element of acting.

Prepping for any character is the most important thing because if you don't know how she walks, talks or thinks, you can't do justice to it.

I think if you don't touch the wall in Monaco, you're not on the limit.

People don't know what it's like standing up there onstage, when you have a wall of people smiling at you.

I'm standing behind a wall of jokes. You don't know about my personal life, my girlfriends, or what I do when I'm not on the road. There's this guy, this comedian, and this is how he thinks, but people really don't know anything about me.

Sometimes when I perform, and it's obvious the audience is just there to party, or if I feel a wall between me and the audience, I get existential about it.

When I'm up against a wall, that's when Billy Mays performs best.

Acting is ephemeral. You can't hang it on a wall. You can't throw it off. And you can't bring it out of a closet. It's there one night and it's gone the next, at least with stage acting anyhow.

Only people who can't draw money need belts.

Ben Vereen is going to be on the show with me, too.

Ben Askren is a joke. The guy has no skills.

Ben Nye is bussin'. Bussin'! It is genuinely great makeup, but because people think that it's just for plays, they don't consider it.

All I can do is my best for the team, whether that's from the bench or if I start.

At Liverpool, when warmed up, we enter the game or after 15 minutes go back to the bench.