Quotes About Performance

When you see me at the show, I'm smiling because I want you to know I can do this all day.

On that court, ain't no such thing as friends and smiling and everything like that.

I get tetchy with myself when I forget. I also get tetchy when directors ask you for take after take after take after take for no apparent reason. I've heard Maggie Smith gets tetchy for the same reason.

There is nothing better than playing a scene with John Cleese or Maggie Smith. It's electric. But I don't think I'm the sort of person who needs to have an outer ego in order to produce something. I realised that through the travel programmes.

J. R. Smith's incredible, man, just incredible off the bench.

Frankly, everyone knows that Iain Duncan Smith is not making the impact we would all like him to be as our leader and is not making the necessary impact to carry credibility with the electorate as the alternative prime minister.

When Hank Jones had his night off, I would get somebody to take my place as intermission pianist and I'd play the show with Ella, so I would get a chance to play with Ray Brown and Charlie Smith as well.

One of my major competitors was Harold Smith. Smith beat me in 1977. I was loafing during that competition.

For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don't you just go ahead and let them sing? People seem to really like it.

When you coach Russ Smith, you have a nervous breakdown on every possession. He's not from a different country. He's from a different planet.

Obviously, when you walk into a room and see people like Ashley Judd and Morgan Freeman and Charles Martin Smith behind the camera, it's big time. You just try not to think about it, try and keep up, hold on for the ride.

I want to have a scene with Maggie Smith.

I'm confident a good Liam Smith beats a good John Thompson.

You have to capitalise on any success you have and keep doing what you do as well as you can. But how do you define success? In my book, it's to be playing those parts you saw your idols - Judi Dench, Maggie Smith, Helen Mirren, Vanessa Redgrave - playing when they were the age you are now.

I want to be able to take singles, serve them up to radio on a silver platter and just have them smoke - just obvious great-sounding, great-feeling radio singles.

Smoke machines are the best!

I feel very privileged to have played China, and the pyramids, all these fantastic places, but it created a kind of smoke curtain between the audience and me as a musician.

When I'm headlining something like the Up in Smoke Tour, that's when I'm headlining something.

Smoke screens are my favorite thing to do. After that catch, I feel, is my thing.

Acting for me is not a bad habit like smoking that I must make an effort to quit. I love acting; I love directing.

I'm actually doing a show. from my shed. on the internet. but it won't be music or anything, it's more to do with drinking and smoking. it's an art piece.

I've had some shows where I really plan out what I'm going to say. Then I've had other shows where I'm like, 'Take a sip of the Ole Smoky Moonshine and just let it be natural and cross your fingers that you say the right things.'

And I knew that, being an actor, you have to take the rough with the smooth and the highs with the lows. That's how it is.

Astaire was ballroom, basically, and Gene Kelly had such athleticism - that's always what I responded to and what just blew my head open when I watched Gene Kelly's numbers. But, Fred Astaire was just so incredibly inventive and so, so smooth - so smooth.