Ryan Murphy Quotes

I don't look back. I look forward and plan new shows. That's really feeding the most important part of working in the theater.

When I perform, it's very personal. I'm sharing things I like, inviting the audience into my room.

Performing, for me, has always been a very inner process.

Performing is a profound experience, at least for me.

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

Acting is such a personal thing, which is weird because at the same time it's not. It's for the consumption of other people. But in terms of creative outlets and expressing yourself, it's just the most extreme version of that that I've ever found. It's like running, it's exertion.

I like the idea of conceiving a show and putting on a show, and especially when I got to the place where I could play theaters.

I honestly just hope to continue creating music that people can relate to and connect with in a personal way.

There are some guys out there who make great music who may or may not be super-emotionally attached to their work. To each their own.

I want the poem to be an experience - for both the listener and for myself.

But I like the process of putting a show together and the impact that Edinburgh has on me as a performer.

The live show allows me to transcend myself, because it's not about me anymore. The writing process is very much about me but then the live show is not. They feel really different.

My schedule usually keeps me busy. However, I love performing on stage and I try my best to take time out for live performances.

I was always interested in choreography - in making people think and feel something.

When I'm singing my songs on stage, I feel like I'm doing a rock show, even though I don't think all my music is particularly straight up rock.

Yes, sharing super-personal experiences is scary, but I can only get up on stage and perform it if I really connect with the music.

I always need a reason to do something on stage, for me. I am not judging anyone: there is not a good way; there is not a bad way. You just have to justify everything.

I need an audience to look at what I've done so I can understand it, so I can step back and watch them respond and figure out what they're understanding about what I'm trying to do and what they're confused about.

It usually starts with the director and any other creatives who may be involved at the start. It's a collaboration. I bring what I have naturally and, hopefully, what they cast me for, and then we start playing and tweaking until we have what they feel's right. It helps to have some artwork to inspire me, but I don't always get that luxury.

Whenever I sing a song, I just want it to reach out to the audience.

As much as only playing clubs can become tedious, performing in huge venues can also become off-putting. To go from one to the other feels great. And sometimes playing clubs can be even more stressful, because you really have to think about what you're going to tell the audience between songs.

My job is the same if I'm making a new musical or making a play for sixty-five people or doing a live television broadcast. The job is to take care of the actor; the job is to create an environment where they can excel and try to access all their attributes.

I spent a lot of time doing really unimportant work as an actor. It was important when I started writing that I obviously make it entertaining, or no one is going to go see it - but to really make you think, that is my goal.

At the end of the day, every decision I make about my music is about creating a collective.

What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.