Rick Yancey Quotes

Once I reached my 40s, I thought to myself that if I'm going to play live now, I need to really mean this. I can't go out and be a little bit, for one moment slovenly in my choices as a performer. I mean, these people have paid a lot of money to be here, they've been through the nightmare of getting here, starving themselves waiting for us to get on stage, so I'm going to give them what they came here for.

I've spent a lot of time thinking about what the audience would want. That's my job, is to anticipate ahead of the audience.

The thing I learned from 'Pride and Glory' is that people like to feel a little better leaving the theater than they did coming in.

Theater audiences don't pull punches. They'll let you know when they're feeling ripped off.

Generally in the theatre, you spend some portion of the performance convincing people they have done the right thing in buying the ticket, that this is the play they want to watch.

With my work in 'Mardaani' being well-received, I am more aware than ever that I have to keep the game up. I don't want to disappoint myself as an actor first and let my audience down.

I don't like it when bands don't want to play that one song everybody wants to hear. I think that's cheating everybody, and I think it's selfish of an artist to do that.

The trick with sequels is, you have to give people what they liked before, yet be innovative enough so they don't feel like they're seeing the same movie.

I've always been shy, but every time that I sing or I perform, when music comes out of me, it is the only thing I can relate to, it's the only thing I can give.

I don't really like actors. Actors are like terrible comedians with no punch lines. It's all about them. They talk about themselves all the time. They bore the sh - t out of you.

I'm an entertainer; I try to give the public what it wants while I'm on the screen, and I'm completely sincere about it. If I don't happen to be a laughing boy off the screen, that doesn't make me a hypocrite or a phony.

I opened the show with this line: "I have decided to give the greatest performance of my life! Oh, wait, sorry, that's tomorrow night.

I feel like movies should stick to a genre and give the audience what they want, and then surprise them with the unexpected, and not just do the same thing you've always seen.

I stopped acting when I was about nineteen, twenty, when I got thrown out of college. I did act for about ten years. I don't know. I suspect I'm still a reasonably good actor, but I don't really know that I want to get on the stage again ... and having to say all those boring words by me over and over again ... I don't know if I want to do that. Also, I like a certain amount of freedom of movement, and if you're acting, you're stuck in one place for a long time. Having said that, I will probably be onstage next fall.

There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.

A good play is a play which when acted upon the boards make an audience interested and pleased. A play that fails in this is a bad play.

Genres give a vocabulary. They give a frame of reference for the audience to enter into a movie. Then, once they have their footing, that's when you can start doing things that they don't expect.

There's nothing like an opening night or like the curtain going up and having a full house, but also having weeks and weeks to work with your director and cast members and try to crack the play. It's great.

Theatre is poetry that rises from the book and becomes human enough to talk and shout, weep and despair

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

The actor's tense, he's being taped and things are not falling naturally. That's what I hate about Boadway. I feel like I'm giving a whole lot for nothing. I like to capture things and hold them there and share them with the whole world.

I have always considered The Merry Wives one of the worst plays, if not altogether the worst, that Shakespeare has left us. The wit for the most part is dreary or foolish; the tone is coarse and farcical; and the characters want the fine distinctive touches he so well knew how to give. If some luckless wight had written such a comedy in our time, I should like to see what the critics would say to it?

You can either give in to what youre feeling, just say ‘okay, enough is enough’ and be done with it, or you can fight it.

Paris is the playwright's delight. New York is the home of directors. London, however, is the actor's city, the only one in the world. In London, actors are given their head.

Forgiveness has its comforts, but it can never give you back what you've lost.