Amaal Mallik Quotes

It's one of the things that looks good written down, but the reality is that you think about the pieces you're doing and try to bear in mind everyone in the audience.

The conductor has the advantage of not seeing the audience.

I tend to be very relaxed on stage, but the nerves have to come out somehow.

You will never, I think, fully conquer the play. Every night, you see this Everest before you. It's that two, three hours and the audience, and you'd better tell the truth.

Having an audience in the studio makes you perform rather than just act.

What sometimes annoys me about the arts is increasingly that we have to put real people on screen or stage.

I stand on stage hoping to give good energy to the audience, but if I cannot give good energy anymore, I will have to leave right away.

Performing live is difficult. But nobody's forcing us to do it.

I'd love to give my music to someone who really likes to wow the crowd. I feel like half the time I just want to hide in the dressing room!

I think I will always be performing; I don't think I can take that away. Because I really just enjoy it. I like getting up to sing; I like the challenge of learning new material and singing it in front of an audience.

I always said that I wouldn't use a teleprompter, and if I start to sing real flat, I'll hang it up.

Maybe I just wasn't a show-biz type. I didn't miss performing at all.

I stopped performing because I don't have the temperament of a performer. You have to want to do the same thing over and over again. Once I got it right, I didn't want to do it again. I always use the analogy of a novelist who has to read his novel in public night after night. I just didn't want to do it.

I feel like every time I go out, I want to do a good job. I want people to say that he's just as good at stand-up as he is in some of the movies I've seen him in, so I try to do the best every time I go out there.

With acting, I always feel conscious of what I'm doing.

As for the stage fright, it never goes away. When I'm waiting in the wings to go on, it's agony every single time but I stay focused and I know that once I'm on stage it'll be fine; I'll be in my happy little bubble.

I'd love to do well on a big weekend with people watching and cheering, of course. But it's not fair to create an expectation level before I know what is realistic. I want to finish as well as possible. Is that top 20? Top 15? Top 25? You just have to play it by ear.

Once I get out onstage, it's the same sort of basic production that it is anywhere else. But I might be a little bit aware that there might be people I know out there, who wondered where I was.

Whether your audience is in a sweaty basement club or nestled in a favourite armchair, good money has been paid, and attention has got to be grabbed if you are not to be heckled off the stage or find your novel discarded in favour of the latest volume of 'Fifty Shades of Whatever.'

When you are on stage, you don't see faces. The lights are in your eyes and you see just this black void out in front of you. And yet you know there is life out there, and you have to get your message across.

I'm nervous the first few songs, and then I'm like, 'I got this audience. I'm ready!'

Performing live in front of an audience is such a matter of will - all of those things you can do just fine in your basement, suddenly you have to do them in front of hundreds or thousands of people, and it becomes a different matter entirely.

I want to feel lucky every night when I go onstage, and not feel like, 'Oh, great, here we go again.

If you go on stage with the wrong attitude, or something in your performance is off, you can lose an audience in the first minute. That first minute is crucial.

I have great emotion every time I go on stage. Nothing in life gives me the same satisfaction that my profession gives me.