The Great Khali Quotes

Being in front of all these people staring at you and it helps you to dig down and become more emotional and get lost in it as you're feeding on people's energy.

Your job as a superstar is to manipulate the audience and try to tell your story. I like the dynamic of the audience.

The energy that comes when you compel people to dance stays with you your whole career - whether you are playing to 100,000 people at Glastonbury or 1,000 kids in a club.

A difficult crowd will always test your true ability.

When you get onstage, you can see everyone in the audience's face, down to the detail. You can see who may or may not be yawning.

The thing about theatre is that when it is actually occurring, when you have the audience on your side, you absolutely think you can will them to do anything. It's exhilarating.

I don't know why people are so surprised by my live performances. My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears or inspiration. Otherwise, why should I do it?

Performing is a profound experience, at least for me.

The best thing I ever learned from my dad was he knew he wasn't the best of singers, but he always knew he was a great entertainer, and I always thought that was a good concept to bring along, that ultimately acting is an entertainment art and you have to be aware of the fact that you want people to be excited to be watching you.

To me, it's the kiss of death when you start winking at the audience as an actor. I just never liked it. I don't like it when we do monologues, looking into the character.

A rock'n'roll band needs to be able to get under people's skin. You should be able to clear the room at the drop of a hat.

Performing 60,000 people, that's easy. The energy's already there. They're already doing most of the work. All you gotta do is not forget the words - and feed them energy, too.

When I get on the stage, I try to connect with the fans and offer them the best of the best. I want them to see it as a music journey.

It's one thing to turn up and jump around stage and give people a good time - that's obviously a big part of this - but I'll always get deeper than that as an artist.

That was the ultimate high, playing live. You feel like the Pied Piper, or a conductor, knowing how to take an audience up or bring them down.

It would be nonsense to try to suggest that somebody who tried to rouse 2,000 people to their feet - which is what I used to do at conference - doesn't have any element of exhibitionism about them.

You get way better from playing to the passing public. You learn how to entertain. But it took me a good three years out on the promenade to figure that out. You also learn what makes them stop dead in their tracks and what doesn't.

People, when they go on stage, tend to be animated and try to force things out instead of relaxing and bringing it in.

On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.

You really have to be a good entertainer, or the show won't work. For me, it was all about having fun with the audience, which meant that I could usually forget that the camera was there. It was kind of like being in the classroom.

When it comes to being on stage, I might be on stage one minute and the next minute I might be in the audience, dancing and lifting people's spirits.

There's nothing like performing for a live audience.

On stage the spotlight is on me and I cannot afford to be shy.

When I'm on, people watch; people pay attention.

As scary as it is, I like making real, direct eye contact with people from the stage. In a sense, it's like modeling: that feeling of locking in and projecting some kind of emotion to try to captivate people.