Tom Jenkinson Quotes

When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.'

I feel my live shows are my music; everything blossoms from the live shows.

I don't like knowing what the next song is because that's what I'd think about during the number we're playing.

I don't hate the music, but I hate the process. When I look at it, I don't see song titles and artwork, I see the fight - I see the emotions, the blood, sweat and tears. There are a couple of songs on there that I love; but 'Lasers' is a little bit of what you love, a little bit of what you like, and a lot of what you had to do.

If you're an artist, it's great to have a knowledge of the business and be educated about that, but you've got to keep the balance right between business and artistry; otherwise, you get cynical.

But I'm aware of the fact that I'm working in a commercial venue where I'm producing something that I wouldn't normally be approaching the way I'm doing it.

I learned that the best way to work is to allow the scene to live on its own before making major adjustments, whether in rehearsal or on film.

I learned a long time ago from David Mamet to wipe your feet at the door, get it out on stage and then go about your life.

That's why I love theatre, because things happen in the moment. I think you work without being conscious that you're working.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

Doing gigs is great, but when you come together for a production in the theatre, that is something I have a lot of respect for.

Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.

I love writing plays because they are living, fluid things that are energised by the producer, designers, musicians, actors and audience.

I don't work out a lead section and practice it for a day and then lay it down. I don't do that. The first time I do something I think is expressive or really cool, that's what's actually on the recording.

Music is supposed to be inspired.

I had an attitude about some work, like television sitcoms. It was selling your soul.

I don't think I could write a book that had an ideological plan going in - I think that would be a terrible book.

None of the records I make are ever a deliberate construction - they're always an expression of who I am at the time and where I am in my life.

The one thing I have always felt about musical theatre is that it is, to an extraordinary degree, about construction.

The actors work out how to create the show with me during the rehearsals. They owe it to themselves and each other to maintain that contract regardless of what the critics say.

I think that those moments before a performer plays are the moments when the potential for something to be created may - or may not - arrive.

I don't really overthink my characters. The camera comes on, and I am on.

The philosophy of poetry must acknowledge that the poetic act has no past, at least no recent past, in which its preparation and appearance could be followed.

If, for instance, we'd made the film after the show had been to Broadway, it would have been exactly the same film but we would have been assured that they would have understood it. We didn't have to do any alterations for Broadway. I was supposed to go a fortnight before it opened to alter anything that was necessary and there was nothing really.

I have to paint fast on television because of the limited time, but I don't want people to see what I'm showing them as work, something to worry and fret over. This is supposed to be fun.