Quotes About Performance

The thing that's characteristic of my performance is that I literally do drag the whole studio onto the stage.

It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.

The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.

I just like to do covers, every once in a while. If someone pays me to go into the studio, I'll do it.

In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.

I loved the medium of TV from the first moment that I got into a studio.

It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.

I always hated when the studios just kind of said that anybody can act. You look at people like Spencer Tracy, Henry Fonda - and I'm just talking about the male actors - there aren't a lot who can act. It's a very special talent, and I wish it were recognized as a very special talent.

I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.

I never studied anything, really. I didn't study the drums. I joined bands and made all the mistakes onstage.

I guess because you study the character and you do all those things. But when it comes down to it, it's still my performance, it's still my interpretation. I'm not going to, you know, be a clone - well, I was a clone of Richard Dean Anderson!

Well, what is acting but the study of human behavior? And that's so fascinating to me.

Al Gore's performances could be a case study in abnormal-psychology classes.

I didn't study acting.

Sammy Davis, I backed him up. I used to study him every night. I saw how great performers worked and was able to incorporate a little bit from the best.

Many people think voice over artists just read, there's much more to it. Without acting beats, scene study and improving skills, you won't make it.

Acting is a craft, and you need to study to be an actor.

Maybe I'm like acts of Congress or your favorite Chinese restaurant - you don't really want to know what's going on behind the door. I'm a real study in contrast, I expect, looking from without. But it adds up to what you get on stage.

Literature is an easier way to study acting, because then you can take any kind of spin.

I don't really study the guys that I'm racing against.

I started dancing when I was four years old and then was in class until I was about 20 years old or so, and then primarily was dancing just in shows that I was doing, but not really studying and training.

I get the most joy out of acting and studying new characters.

I started studying theater in school, and then I got into drama school at, like, 19, and it was a national drama school in Montreal, and so it was just you and nine other students for three years, and it was really intense.

I wanted to be in a band that gave bang for the buck. I wanted to be in the band who didn't look like a bunch of guys who, you know, should be in a library studying for their finals.