David Alan Basche Quotes

Everything I do is intended to be big.

I would love to do a live show with dancers and fashion and scenic elements - definitely bring my love of the theater to a concert-style performance.

For me, playwriting is and has always been like making a chair. Your concerns are balance, form, timing, lights, space, music. If you don't have these essentials, you might as well be writing a theoretical essay, not a play.

Theater is far superior to film in poetry, in abstract poetry.

Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.

From the very beginning, I started doing music performances with a lot of theatrical aspects to them, where humor was a part of it but not necessarily had to be. Humor is just another tool to make the palette more rich and interesting for myself and eventually for the public. It's a great way to break out of convention.

I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.

I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.

My dad was a theatrical guy. He wore a scuba suit one time because he said so-and-so was in the tank with the mayor. He didn't really care what people thought, so he was able to put himself out there. He didn't have a lot of shame, in a good way.

It is impossible to give a performance that makes you unaware of the fact that you're watching an actor and be really involved in all aspects of filmmaking.

Once I decided to be a different person on stage, I got the chance to be larger than life and over the top, which I love.

I want to be able to deliver the kind of show that I want - to go onstage with my chin held up.

Theatre is more metaphorical where you have to be louder and larger than life, whereas film is more subtle and more real.

Coming out in a bedazzled tank top and silver jeans and singing 'Superstar' with a 36-piece band and 28 dancers around me is one of the dopest things I've ever had the opportunity to do.

I love drag queens and I love going to see them perform because those people have got so much character and bravery. Such balls! I love people with balls.

When I started reciting my own poems in public, I worried that it would seem too theatrical, but now I find recitation very natural, because it allows me to address audiences directly.

The performance of performance has developed to such an extent in recent years that it challenges the music itself and will soon threaten it with relegation.

Onstage, there's a separation between character and audience; onscreen, you can go to a deeper place.

Whenever you do big stuff in the ring - a big move or a big hit - you have to let that moment breathe. That allows a moment to sink in for the fans so they can reflect on it.

If you look at the Karamazov Brothers on TV, they're really small and the heart is taken out of their act. That's true for most variety acts. I'm an exception. When the camera comes in close and looks at those soap bubbles, you can really see what bubbles do.

I love theater - it's where every actor should begin, the core of acting. But I feel that there's something about film that's captivating; it takes you to another, and you get to really be so connected with it.

I would do these performances around town at different places, and that's when I really fell in love with performing, and I knew this was something that stood me up and filled me in a way that nothing had and nothing could. I really just fell in love with it.

I've done comedy on stage, in fact it is one of my strong points.

Drag queens don't work well outside. We're designed for spotlights, not sunlight.

You have to have a big ego in this world to propel yourself in front of the cameras, to sit behind the microphone, to believe that you can entertain millions of people.