Quotes About Performance

The combination between the speed, personality, and being able to temper your emotions in both directions is a great ingredient.

I lost my temper on stage.

I'm a bit of a hothead in certain circumstances, but you've got to temper it because your fans are there, and they've paid good money to see a show.

As a kid I lost my temper quite easily and tended to look away from the game itself. Now I know how to manage that and get the best out of myself.

When you see a singer on stage who is 100% committed to the personality, character and temperament of the role being sung, it's truly awesome and very powerful.

Technique is the main thing when it comes to success at the top level. The sound temperament comes into work only when you have a sound technique.

If they're not temperamental, I don't want them. It's in the nature of a great artist to be that way.

An actor has no more right to be temperamental than a bank clerk.

When you fully focus in the match, you don't think too much about the atmosphere and the climate. Even if the temperature goes up, we will both sweat the same.

To be a good actor... it is necessary to have a firmly tempered soul, to be surprised at nothing, to resume each minute the laborious task that has barely just been finished.

I've played Hamlet and Coriolanus, Orlando in 'As You like It' and Ariel in 'Tempest,' among others.

In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.

Acting is the most minor of gifts. After all, Shirley Temple could do it when she was four.

In every character that you play... I mean, I don't think I'll ever be the type of actor or performer per se who transforms, you know? Like Claire Danes transforms into Temple Grandin - I'm not gonna do that.

It is at programmes organised on the sidelines of temple festivals that you get to see raw audiences who will let you know immediately whether the act has clicked or not. It was those audiences who taught me how to strike a rapport with the audience.

I've played a lot of football in my life. I know the tempo and speed of the game.

Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.

Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.

The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.

I want to focus more on my pitches, not on the tempo. After that, I felt more comfortable.

I try to maintain an even tempo in all the games. Sometimes you play well and sometimes you get out. When you get out, you feel it is a wrong shot. Most players in tough situations play shots that could be out, but over time you refine that and give yourself the best chance of performing, the more you play in such situations.

It is hard to play Blue Suede Shoes. I know everyone has heard it 10 million times, and that makes it even harder to play it, but there's a very laid back tempo on that. I was surprised at how slow it really was.

I snapped my fingers all through it. Sometimes I set my own tempo during rehearsal by doing that.

I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.