Quotes About Performance

I'm not as much a fan of the venues as I am the comics who inhabit them. I don't care if it's a bomb shelter, a bus, or a theater, if I'm watching somebody who makes me laugh, I'm down.

In L.A., we played rock venues because we had a band, which hip-hop venues couldn't accommodate. And within that, we created a show which we could put on in front of anybody.

I'm still like a little kid about it, where I'm just so happy and excited that people want to come to our shows and watch us play. I still go outside the venues and take a picture of our name on the marquees. I still feel like I'm trying hard to be in a good band, I really do. And I think that's a healthy approach.

We're thrilled to play an offbeat place. Our music fits with it. I love playing unusual venues.

I'm a fan of small venues that showcase emerging talent in the most organic way.

It never bothers me playing huge venues; it's not personal, is it?

Poetry fills clubs, halls and venues. Poets and poems can talk to the deepest feelings and to the silliest. It can be like stand-up or rock music. It can be intimate, it can be pubic.

I really like to do small venues. They're more intimate.

We've played all sorts of weird and wonderful places. You do all kinds of venues from heavy metal places in Germany to big ornate churches, and everything in between.

What I like about Japanese venues is that the front barrier is right up against the stage, so when you're bending over, they're right there in front of you. In some European festivals, they're so paranoid, you need a taxi to go and touch the crowd!

We'll always play different venues. We'll play small clubs or stadiums or things in between.

The crowd in big venues can really make or crush players.

Venus told me the other day that champions don't get nervous in tight situations. That really helped me a lot. I decided I shouldn't get nervous and just do the best I can.

Venus hasn't been to the semis for a couple of years in a Grand Slam - she's been coming back from injury.

We used to do 'Venus' live for a long time but never got 'round to recording it because people would always say it's too old-fashioned a song.

Acting is doing, because everything you say or do is some kind of an action, some kind of a verb. You're always connected to the other person through some kind of action.

Theater is a verb before it is a noun, an act before it is a place.

When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being played.

Attempts to put my poems to music have had disastrous results in all cases. And the poem, if it's written with the ear, already has been set to its own verbal music as it was composed.

In movies like 'Cape Fear,' I never played verbal characters. Now, as a grown-up, I relish playing people that are not like myself. That's what I enjoy about acting.

There's nothing like the freedom of being in a roomful of strangers and trying to make them laugh... You either sink or swim. It's like verbal boxing.

I'm more verbal and not as private as I was as a kid. I still do a form of sense memory. It honestly depends on the job. It depends on the other people you're working with, how the other actor works.

I just want my films to work. The hit or flop verdict really affects me. I seriously analyse what went wrong if a film turns out to be a dud!

When you play in a band, you're in phase with people. When you're a DJ, you're totally off-phase. Your work time is 3 A.M. - 5 A.M. and I don't think you can connect. You're miserable the whole time. Whenever I see a DJ in the airport, they are always on the verge of crying.