Boy George Quotes

There's something so wonderful about being an actor in New York.

I never deliberately set out to shock, but when people don't walk out of my plays I think there is something wrong.

I love performing. I love being a provocateur. I love putting myself in situations that are uncomfortable and that I have to get out of.

Theatrical times are different from concert times, to put it simply. Taking a figure like [Mahatma] Gandhi and setting him on a stage requires thinking about what theater is about and what the whole experience is about and what we're trying to communicate in that way, so you get into certain less abstract considerations.

Leigh Bowery was actually quoted as saying, "Flesh is my most favorite fabric." I've seen many a freak make a scene and go, but Leigh was a special kind of exhibitionist because he was dedicated and saw it as an art form.

There's a tremendous amount to be gained from being a performer, and being an artist, and being an actor.

Singing in Yiddish was a great thrill for me and came about through Joe Papp, the founder of The Public Theater.

Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.

I was in 'Rent,' for God's sake. The closest we came to stunts was dancing on a table.

Musical theater is great; you get painted up, you get to play princesses and witches, and you sing. The joy alone of that can really carry a lot.

Marilyn Manson is a criticism of gimmickry, while being itself a gimmick.

We tried to make a movie that had sex and violence because we like sex and violence.

I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.

It would be obvious for me to do conceptual art, and I think I've done it already with smashing bass guitars and whatever - I consider that as conceptual.

I never thought about movies. I never thought about Hollywood. It was just being on the stage and being in New York.

When the audience comes in, it changes the temperature of what you've written.

Stand-up is like a movie every night. You write it, direct it, produce it, the audience votes, and you go home. There's nothing more satisfying.

I didn't feel like gymnastics were part of The Cars. I certainly philosophically didn't want to prod the audience to react to anything. To me, it was more like negative theater. We didn't really talk to the audience. I didn't see that being a part of this band.

I've seen some terrible plays, but I generally enjoy myself. One play I walked out of, I have a tremendous respect for the author. That was Robert Wilson, something called 'Network,' which consisted of Wilson sitting on a bunk, the dialogue of the movie 'Network' looped in while a chair on a rope went up and down.

I love the immediacy of an audience being there and reacting. I'm spoiled, having grown up in theater.

I can bring a crowd down. There should be a contest for that.

There's a romance and power to live theater.

I love the power of theater. I think it's an experience you never forget.

I want to shake people up so bad, that when they leave a nightclub where I've performed, I just want them to be to pieces.

Once you're in a musical, there is a huge opportunity for that, singing and dancing, 'Aha!' and 'Tada' at the end of the numbers; but it's a different kind of discipline you have to go through to maintain that kind of performance.