Quotes About Performance

I'm not one of these actresses like, 'Okay, where's the camera? Is it here? Is it here?' I don't even ask the questions because I don't really want to know. I like not performing for a camera but giving it my best every single time whether you're close or whether you're far.

If it's a 50-seat theater, I am neurotic about whether I'm doing an honest performance. Sometimes I walk away happy enough with it. You know, it can always be better, but sometimes I'll walk away distraught, feeling like I missed the pulse of the character that evening.

I love running good because it meets expectations, whether it's the fans' or my own. And I know that they come to be entertained: they pull for a particular driver to be entertained by that driver's success and that driver's personality, and they relate to that individual.

I'm like a mechanic. If you break down and phone the AA, they'll come to you whether it's raining or snowing. That's what an actor should do.

The bat is not a toy, it's a weapon. It gives me everything in life, which helps me to do everything on the field.

When you DJ, you're just on your own, which is nice because there's no argument.

I still get thrilled by the energy that is a live performance, the fear and the panic and the electricity that happens on the night. I think jolting myself every once in a while with that fear is a good thing for me.

An arts education helps build academic skills and increase academic performance, while also providing alternative opportunities to reward the skills of children who learn differently.

Singing instrumental music is most important because, while you play an instrument, you are singing through the instrument... actually, you are singing inside.

I never aspired to be in a band, but being onstage is a very cool feeling. It's like you're the lord of the room. It's hard to croon and run around doing big scissor kicks while also trying to play, though. I'm still mastering that.

While acting is a passion, hosting is fun.

At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.

My father was a singer. So it just kind of happened that one Sunday while my dad was singing, I just walked out and stood next to him, and I started singing the song that he was leading, and I sang it in perfect pitch.

After a while, a joke, if you say it too much, just becomes contrived, or fake-sounding.

I've been singing properly every day since I was about fifteen or sixteen, and I have never had any problems with my voice, ever. I've had a sore throat here and there, had a cold and sung through it, but that day it just went while I was onstage in Paris during a radio show. It was literally like someone had pulled a curtain over it.

Playing a three-hour Rush show is like running a marathon while solving equations.

I don't mind traveling that much when I can go somewhere and stay there for a while, but touring is different. You rarely see anything. You get there early in the morning and you're resting all day, and you go in and do a sound check, and you do the show, and then bam you're gone.

It's nice to play a three-dimensional person every once in a while for a change of pace.

Dancing in high heels is kind of tough. I learn the dances without the heels, and then we add them. We just practice, and I get used to it. My feet hurt really badly at the end of the shows, but it's fun. While it's happening it's fun. I feel tall.

In T20, you don't have time to get distracted - it's so quick, you have to run around in the field, and while batting, you don't actually think about anything else.

Music is a kind of magical thing, and you can't make magic every time, but you try. Every once in a while it has that magic, and the audience knows that. I probably miss it more than I hit it, but I think that's what all musicians try for.

I find it odd seeing a DJ playing to huge audiences. I know that people have been doing it for a while, but the fact that it's been embraced so much in America now and it's become like this new, big thing, I find it slightly odd.

Dontel Benjamin on 'Eastbound' is a loud-mouth, braggadocios, crazy man, while Roy on 'Rake' is a very deliberate, thoughtful man, and he doesn't scream a lot.

I've loved the escapism of being another person, slipping into another character for a little while.