Quotes About Performance

A lot of my musician friends have the same kind of anxiety and panic when faced with crowds of people, and I do, too.

I always panic on the first day of work. You can do all the Stanislavsky-backstory homework, but when that moment arrives and you are in the clothes, hair, and makeup of somebody else, and you're saying the words created by somebody else - I never know how to do it. It's a complete mystery to me.

When you play a big server, you are under enormous pressure on your own serve because you cannot afford to be broken. That causes a lot of players to panic: you see double faults or tentative serves. It's all in the mind, but it still happens.

When I didn't work on TV, that was OK because I was doing lots of theatre but I did begin to panic a bit.

This whole thing has become a pantomime.

We used to have front-row seats for the Grand Opera House pantomime every year, and once the dame May McFettridge got me up on-stage.

I do enjoy doing pantomime at Christmas. If I didn't do it, I'd feel as though I was missing something.

I saw Marti Pellow in pantomime in Glasgow one time.

You and I and everybody in show business and the entertainment industry fly by the seat of our pants. We don't know quite what is going to happen.

I think leather pants are just better than jeans onstage; they give the performance a nice attitude, and they are also shockingly comfortable. Comfort is key.

If I've still got my pants on in the second scene, I think they've sent me the wrong script.

It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

I act because it's the one time I'm sure of my identity. There's no doubt. It's on paper.

I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

Everything I've ever done in my whole career, people might not know, I've never written anything down on paper.

I truly enjoy directing. I enjoy looking at the words on the paper and visualizing how to make them come to life.

I'm always writing; I'm always jotting things down on paper or making notes in my iPhone. Then I'll make myself sit down and kind of shape it up, but there's really no other way to practice other than onstage.

I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.

From the first time you can look in the paper and you accept that you're the entertainment for some people that night, it becomes so much more enjoyable to play live.

TV is an interesting business. You audition with a couple of little papers in your hand, and if you're lucky, you get to say those lines in the show. Then, once in a while, you get to do more.

I think it helps to know where you're at. I don't want to be coming down 18 knowing I need to make par, and trying to force a birdie or doing something stupid.

Reshoots are par for the course on any film. For me, I kind of love it because, as an actor, you always feel that there was a way you could have done it differently. Being able to go back and do some stuff again is always a blessing in my eyes.

Everybody at the Olympics are almost at level par.

No matter what's going on, on the leaderboard, you have to know that par is a very, very good score and just keep playing.