Quotes About Performance

I think that is one thing I've picked up: follow a routine, be consistent, and everything is going to fall in place. If you are scrambling around, and you are late for stuff, that adds extra stress, and you have to go out there and hit a 97 mph fastball.

When we were first started we were doing a lot of Motown stuff, but actually playing it more in a rock way. Everybody in the band sang and we did a lot of harmonies.

It's easy to be silly in real life, but making stuff up onstage, that seemed hard. Better to be the funny person off-the-cuff in the room than to risk being unfunny onstage.

Eric Clapton always wanted to come out onstage with a stuffed parrot on his shoulder.

You don't really want to load up a whole lot, probably anything more than four hours before the race. I needed something to make me feel full, but I certainly didn't want it to make me feel stuffed.

Theatres that are stuffed to the gunnels leave me feeling rather peaceful - that's when things are going right. When you're playing to 40% and trying to make the budget, it's more difficult.

Needless to say, anybody who can stumble through a C-major scale knows that Art Tatum always gave his audiences 10 times their money's worth.

When you start off a T20 innings you want someone who is going to be hitting the top of off stump, causing problems and being quite disciplined with the ball.

In 'There's Something About Mary' and 'Dumb & Dumber,' I ended up improvising quite a bit of my scenes, and later I didn't even remember what I'd said because I just winged it. When I went and saw the movie, I was as stunned as everyone else was.

I saw Sridevi in 'Himmatwala' and I was stunned by her screen presence.

I saw 'Othello' at the National Theatre in London, and it was so stunning. I was so moved. It's beautiful.

David Harrington asked me to write a piece for Kronos Quartet for a performance in Prospect Park, Brooklyn. I live just two blocks from the park and spend many mornings running around it. The park for me symbolizes much of what I love about New York, especially the stunning diversity of Brooklyn with its myriad cultures and communities.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

I come from a huge theater background. The whole action and stunt world just came as the roles were available.

Since I was a kid, I have always froze when I saw an action star perform a stunt defying the parameters of safety and fear.

Preparing for a stunt is like training for a sporting event.

I could take my grandma and put her in a cape, and they'll put her on a green screen, and they'll have stunt doubles come in and do all the action. Anybody can do it. They're relying on stunt doubles and green screen and $200 million budgets - it's all CGI created. To me, it's not authentic.

Well one of the times I did a stunt was in the devil's snare room and they lifted me up on a harness and a safety rope really, really high, and they just dropped me down into the devil's snare.

On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.

As a stunt girl I've done most varieties of female fight action.

Since very early in my career, I have always did my own stunt fighting.

When you're fighting with a stunt person, your intent is to miss.

We don't move on in the stunt unless it looks like a hit. So when I see it on TV, I'm generally satisfied that people are going to buy it.

Repetition on things like that becomes quite painful. If you do a stunt sometimes it can look like a stunt.