I do understand sometimes when actors say there's no one to talk to, or you can't react to, there's truth in that, but for me, I've always enjoyed green screen, and blue screen.
Do I lack speed? Yeah, but a lot of guys lack speed.
My musician friends could always practice what they loved doing, but I can't go on a street corner and start reciting a monologue. Acting is very collaborative, and you always need other people with you - mainly an audience.
I'm kind of a terrible musician. I'm a very functional musician. I play just about every instrument in a band setting, functionally. But I should not be taking solos.
God forbid if David Crosby gets sick again and I can't tour anymore, or something happens where I can't get around, what am I going to live on? I'm going to be living on mechanicals. So I don't want to hear it.
You can't get an actor to do something that is beyond his range, so you have to be aware of the range of the actor and, if necessary, alter the part to suit the actor.
No actor has complete freedom.
If I can do concert recitals, adapting the repertoire to my needs, then no problem, that's good enough. But with operas, unless the right circumstances come up, my career is done.
I do think I have a thing or two to improve myself although it is difficult to reach your full potential at an average team.
The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
I did tons of gigs where I didn't move around very much because I couldn't. There's a pole over here and wires and a monitor there.
The toughest injury I've played with was I tore my planter fascia in my foot. As a receiver, as a skill position, anytime you get your wheels, so to speak, messed up, it's hard to play like you want to play.
Concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art.
A musical by its very nature doesn't allow for a lot of nuances.
It's challenging to play a real-life character because you know that it existed in the history and you have certain parameters to follow and stay within.
There were times in my career I went a little further than I wanted because of expectations. Doing certain things onstage when children were in the audience, wearing certain clothes, singing certain lyrics.
Anyone that's been with WWE, there's frustrations of feeling like you can only do so much. The women are told not to punch or to kick, to do power bombs and the power moves, and none of that exists in 'Lucha Underground.'
I am attracted only to music which I consider to be better than it can be performed.
Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.
I can't imagine what kind of problem Senna has. I imagine it must be some sort of grip problem.
I've had the healthy and sobering experience of constantly working with music that is invariably better than any performance of it can be.
I always say if you've seen good acting on television, those actors are really good. Because there's just not enough time. You don't have any preparation.
There's not an orchestra in the world that doesn't have weaknesses. None of us can play everything well. The repertoire is just too big.
There are other tracks that are more reliant upon the beat. Like nobody's going to sit there and play "Harlem Shake" on the guitar!
So you do shorter versions of the hits, or you take out a long guitar solo or things like that to make time for the hits and new music as well. But I don't think any of us ever get to do as much new music as we would like to.
