Quotes About Performance

I do 100 shows a year, but I do it in fits and starts, as opposed to going on a long run.

I get an idea about something. I just start thinking about it, and then I get onstage and I talk about it, and then I think about it some more and talk about it some more, and think about it some more and talk about it some more, until it starts to take a shape.

Breaking is when someone starts to laugh in the middle of a scene, which is so fun to watch.

There's some anxiety the 30 minutes before the show starts. But once you step on stage and face the people, everything goes away, and you have fun and enjoy the audience.

A cantor, when he starts singing, it's like rain - once it starts, it's hard to stop.

The theatre starts every night at half past seven, and I like the rhythm of going to the theatre, parking the car, going to the stage door; I've grown up with all of that. I'd love to do more theatre - I mean, I shouldn't be telling the world that I can't remember lines any more, but I find it more and more difficult, so I don't know.

Some days I'll have good starts, and some days I'll have bad starts. I'm really focusing on having more good starts than bad starts, and I traditionally do. But I would hate to make it all the way to the Olympics and have a bad starting day.

The stage is that immediate rush of energy you get from the audience. Also, doing something in chronology - something that starts and finishes the same night. In television, you work toward the one scene, you shoot it, and then you have to forget about it because you have to worry about the next scene.

Seven innings, three starts in a row, that's an improvement for me, and that's what I want to do: be out there in the game longer.

For film and theater, you know how the story starts; you know how the story ends. With TV, you don't. It's literally like living real life in character.

It starts with me. I have to get the team in the right play and throw the ball where it's supposed to go.

For me, the game starts with starting pitching.

When you work so much in between starts, you realize how long the season is. It's exciting to look at and be a part of, obviously. It's almost like a challenge, to see how, from start to start, things may feel a little differently.

Customer Development changes almost every aspect of startup behavior, performance, metrics, and, as often as not, success potential.

I'm dying to do a Sam Shepard play. 'Curse of the Starving Class,' 'Buried Child,' 'True West,' 'Cowboy Mouth,' 'Fool for Love' - I'll do any of them.

I get so nervous before I go on stage that I can never eat very much, so I'm always completely starving afterwards and dying for a bowl of pasta.

It's a big flash of all these things and whatever you take out of that statement's one statement, one mind, one statement, one act, one show, and all the songs are one.

In the Finals, you want to set a statement like, 'This is me. This is who I am.' You know everyone's watching.

Some comedy has turned into, 'Donald Trump's bad, isn't he?' That's a true statement. But where is your joke?

You look good. You play good. That's a true statement.

The only reason for doing a play is to make a statement about it, and by that I don't mean a conceit of the producer.

I am a professional actor, and I don't go about moralizing about what the character does. Otherwise, seriously, why be an actor? You're not making some kind of social statement. That's not what actors do.

I don't choose parts. I choose filmmakers. I'm done trying to make a statement with a character. What happens is, I craft a performance from the beginning to the end of the character. Then I release it to the director, and he interprets what I gave him.

In a very broad statement, or mentality, you just want as many fans as you can have of your music. You want people to write songs for and connect with and play shows for.