Quotes About Performance

It's interesting - I always thought when I was doing more melodramatic stuff like 'Everwood' that the directors were constantly reeling me in and stopping me from being funny.

The band will always be our number one, and I don't see it ever stopping. We love playing, so why would we want to stop?

What's great about musicals is their energy and go-for-brokeness - stopping the story to sing and dance. How can you not love that?

There's just something awesome about going all-out for 20 seconds and then stopping and getting to guzzle Pedialyte.

I've been entertaining men with my comedy for many, many years, and I don't plan on stopping.

I think stopping any Muslim artist from performing at Ramlila is a cheap gimmick to gain publicity.

The only way to play football is with reckless abandon, or they'll knock your beard off. And with acting, you have to pull all the stops to make it work.

Some of the pictures I must say every now and then I just think are going to be funny. When it gets that much, you might as well just pull out all the stops and make it more of a burlesque.

I don't think you can work properly if you have anxiety about something; it stops you doing the work you're paid to do.

With a lot of contemporary musicals, the songs are like a calling card: the action stops for them.

Well, first of all it's entertainment. That stops us becoming too pretentious or thinking we're great artists.

When you're playing a good character, you have an idea that you're playing the hero and the good guy. Actually, I think you're more stymied playing the good guy than you are the bad guy. As the bad guy, you have no inhibitions. Nothing stops you from doing what it is you feel you have to do. You do it because it's what's required.

You've got to find ways to affect the game, whether it's key stops, key plays, anything.

In around 2000, I became aware of a recurring problem of the 'tightness' around my cueing action, which somehow stops me believing that I can play the shot - even shots I could previously play with my eyes shut.

It's a saying if coach likes and sees good stuff in you and wants you to play he'll pick on you, he'll make you work and do things right. Once he stops talking to you, you know you're done.

In the group setting, I had a role to play, it was like being on a team. In a solo setting I'm forced to pull out all the stops.

I steal props from 'SNL' a great deal. Almost every sketch I'm in, I try to grab something from it, so I have a storage space full of props.

I have a Baldwin in my L.A. apartment, a Steinway in my New York apartment, and a Kawai plexiglass grand piano in storage for shows. I still play for two or three hours every day.

That fight scene in episode two between Five, Hazel, and Cha-Cha at the department store was a lot of fun to shoot.

I do 'The Howard Stern,' make me happy. Also I sold out Comedy Store in the Los Angeles for my roast. This way everybody know I make the people laugh and happy. I love it.

There is a healthy amount of self-doubt and criticism with most people that make music. You find your areas that are your best. Onstage, I am good. But talking to someone in the grocery store? Forget about it.

My mom is an art teacher and my dad owns a women's shoe store, so they're not actors by any means. Well, I guess to sell women's shoes, you have to be an actor.

I'm not one of those kind of people who does the observational 'Hey, don't you hate it when you're at the grocery store and the line's long and the cash register starts taking too long.' I don't really do that kind of stuff. I'm heavy on persona, and I do a lot of interacting with the audience.

The store experience must become a performance, with the energy and precision of a Broadway play.