Quotes About Performance

I have modes, mental modes that I get in, and when I'm on the road, I focus very much on doing the work. On playing the show, on being good every night. And part of me just gets switched off. The part that's very private and very personal and very intimate. That especially, that part of me gets shut off.

When you play in the Champions League, you are switched on - very, very smart and focused on every situation.

I'm a very simple and calm man, but when the camera is switched on, acting begins.

In 2013, I changed to left-hand low, or cross-handed. And it's helped a lot. At the time, the reason I switched was just a lot of inconsistency with putting. I was either making a lot of putts, or I was missing a lot of putts.

You can't feel your way into an Ashes series, you have to be switched on from ball one. That's just me in a nutshell.

When I was on the court, I played. When I trained, I trained hard. But as soon as that thing was over, I switched off and enjoyed my life.

Regardless of injuries, we would get onstage, and as soon as we were up there it was like, bam! You were hit with an incredible force. The band came alive on stage like someone had switched us on.

I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.

I stepped back from being out front to playing bass. So we started switching: I'd play bass on one song, we'd switch on the next song; I'd play piano... we'd play mandolin.

When I'm on set, I'm on set, and I focus and get the work done. Then when I'm done, I kind of have this button that I switch. I'm constantly switching this button and putting on different masks, and that kind of keeps me organized.

Learning how to win comes with switching the onus of pressure away from yourselves and then seizing your moment.

I'm a good rebounder, good on switching screens good defender; I'm looking to improve my offense and hopefully I can go out there show what I can do.

Sword fighting is just as fun as it looks on the screen.

I loved playing Go Go, because the character's so extreme. And she's pretty close to my real character. Especially the fact that she liked her sword with a lot of accessories.

I couldn't pick up a sword and go fight anyone, let me put it that way. It's choreography and it's acting. The best sword fights you see look amazing, but it's the acting that sells it more than anything.

I've looked at photographs of myself during concerts and it sometimes looks as if I'm in a fencing move, with a guitar in my hands instead of a sword.

There's a huge difference between stage fighting and real sword fighting.

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

Doing the sword fighting is like picking up a dance routine... I think dancing really helps with the picking up of it.

It's very hard to do that many things at the same time - having to dance and sing and be on a horse with a sword. It does get quite confusing.

Every time you do a big sword fight surrounded by a couple of hundred extras, it's a fun day at work.

I come from theatre and there have been roles where my job was to stand in the corner, with a sword in my hands, for two hours. And I was happy doing that.

I got an M.F.A. in acting from NYU, and part of our training is to learn how to use swords in combat situations in a performance and Shakespeare plays where you have to fight.

I don't rehearse with my actors... the first rehearsal is the first time we turn the camera on... Sydney Pollack never rehearsed his actors, and I found out that's allowed... so you film reactions; you don't create them.