Quotes About Performance

When actors are the real deal, all that star whatever goes right out the window and you're there to tell a story.

I think you get the most honest performances when an actor shows up to set with their lines memorized. That's a very important thing that a lot of people seem to forget. You have a pre-conceived notion of what you want the scene to be, but once you get there, that goes out the window and it turns out to be a way that you never imagined.

You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.

My job as an actor is to cover and expose in varying allowance that - so that the audience can peek through the window to the people I create.

It is down to the manager what he wants to do in the transfer window. Us as players, we just have to focus on each game that comes along and try and do our best.

Every team believes they are better after the transfer window.

Performance was a shock to me. The first time I remember feeling I could do it was during the making of my first video, 'Fun for Me.' I couldn't sleep the night before the shoot, I was so frightened. I had to play a ghost and a piece of merchandise in a shop window, and I had no idea whether I was going to be able to pull it off.

For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.

There are certain guys that are obviously a lot more talented than myself and a lot of the other players in the league, but... once you gotta play against me, all that's out the window.

I'm definitely a lot more reserved without the mask on. And with the mask on, all those inhibitions kinda go out the window. I can act like Keith Richards, I guess!

I think, obviously, there's a bunch of technology with TrackMan, and all of the different launch monitors, that help tell you what is best. But, for me, it's a lot about what is going to come out from that initial window of hitting that ball.

We lived above the church, and I remember there was no air conditioning in the church. I would shut all the windows and I would have concerts in there. Practice, you know, take the microphones.

The eyes are the windows of your soul, and when you're acting, they're one of your most important instruments. Especially for close-ups!

The Tinted Windows shows were very fun but it's very different for me as a performer. I'm not playing music - I'm just singing and I missed that. I miss rocking out on keys, drums, guitar... whatever it is.

The IronClad is faster than most thumb drives but far slower than a standard hard drive. Boot up, application launch and other Windows operations feel sluggish, though still usable.

Kids used to come round to my house, and I'd force them to do a play in the bay windows of my house and get all the mums and dads to sit and watch. I'd write the programme, write the play and be the star.

I'd stand on the side of the road when I was just a little girl singing on trash cans. People would roll down their windows saying, 'Isn't she cute'. I had a vivid imagination. I always pretended it was some big stage.

They're odd beasts, musicals, but what I like about them is the way they allow windows into people's lives. When people sing, you get an opportunity to see a vulnerability, a glimpse of a life in a messed-up head.

A lot of the comics called me Bronco because I wouldn't get off - if I had to do an hour, I would stand there, even if it wasn't going well. I knew comics that would climb out of dressing room windows after they'd done their first spot.

Dad was much more critical. I did a comedy in Windsor and he came round afterwards with a load of paperwork and said nothing about my performance - just: 'I've got some forms for you to sign.'

If you're going to be hosting any event or a performance or having dinner with people after a performance, it is work, but it's also social: food and a glass of wine would be involved often.

The first night was awful because I was so afraid, and I was never more afraid because it was going out of my character to be outgoing and to be vulnerable and to be out there and onstage. My hands were sweaty and I couldn't swallow, and I drank a bottle of wine to calm my nerves.

I would just like to say that opera is no longer about fat people in breastplates shattering wine glasses.

My wife will tell you that if you feel my hands before I walk on for a performance, you could chill a bottle of wine.