Quotes About Performance

Professionally, when I did the Olympic games and sang for my country in Australia. It was a big moment, Sydney in 2000. It was just a brilliant moment in my life.

I'd want to play the Sydney Opera House.

The first gig we ever played was at a pub in Sydney called the Annandale Hotel to approximately 12 people.

A British actor will savour every syllable of a Shakespearean line, while a French actor will drive to the end of a sentence or a speech with a propulsive rhythm: the thing you never say to a French actor is, 'Take your time.'

'One Leg Too Few' by Peter Cook is a perfect sketch. The setting is ridiculous, the language is beautiful, and the performances make the most of every syllable and movement.

I don't categorize characters into one syllable. These are fully-rounded characters that I don't judge; I just play them.

It messes me up sometimes when I go on stage and people say my name wrong. Say my name wrong with all these different syllables. I've heard everything. My name is easy as 1-2-3. Jer-eh-mih, syllable-wise.

Bellator wouldn't be who they are without my performances and Michael Chandler wouldn't be who he is without Bellator promoting him and us having a phenomenal symbiotic relationship.

Acting is a symbiotic process, it is an amalgamation of many many things put together and when there is a call for action, that's when you surrender and the moment of truth comes out, that's when you perform. That is the process for every good actor.

Broadway is a definite symbol of New York. It's classic New York.

I'm aware that people see me as a sex symbol. But I know I can act.

I get myself a gig somewhere, whether it's in a club, whether it's in a bar, it doesn't matter, and I just work on New Year's Eve because I always feel it's very symbolic for me for the next year, for the new year.

You're not cast because you're like someone or because you're sympathetic to them. You're cast because you can act.

You don't want to make performances; you want to make people. When a project knows, 'Okay, my bad guys need to be a little sympathetic, and my good guys need to have a bit of a mean streak,' you're off to a good start.

Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.

I've always thought of acting as more of an exercise in empathy, which is not to be confused with sympathy. You're trying to get inside a certain emotional reality or motivational reality and try to figure out what that's about so you can represent it.

You have to have sympathy for and an empathy with a character in order to play them.

Every footballer plays with the hope that people love to watch you. But, for me, there is no sympathy or interest. I don't seem to have any charm for fans.

New Year's Eve, we're going to be doing a concert with the Philadelphia Orchestra in Symphony Hall. It makes me feel good, because of all the people they could have had, they wanted me! We do have to do a little work with the rhythm section.

A symphony is no joke.

A Beethoven symphony should be rehearsed like chamber music, only for a lot more people.

When I do an operation, it's half a dozen people. When it goes beautifully, it's like a symphony, with everybody playing their part.

I always like to sing barefoot, but when I first started doing these dates with the symphonies, I of course thought I should clean up my act, being a Jewish girl from Long Island with a little bit of a trucker mouth. So I wore a gown and some high heels.

The first reason for starting to do the symphony concerts was to play this new piece of mine.