Performance Planning Quotes

I envision the script as a story in my mind, memorize the entire thing and have it play out. It helps me figure out where my character needs to go.

Actually, I've done it the other way so many times where you rehearse the band and you do the whole thing with lights, the show and the crew - everything. Then you see what happens and you're already committed to dates. I'm just sort of putting out feelers this way.

I seem to be constantly confronted by theater professionals who are more or less annoyed by the prospect of structure.

It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.

The importance of rehearsal is maybe you want to talk about how the scene's going to be designed, how it's going to be staged, all of those things. It's all about preparation, and deciding what mutually you don't want to do, rather than necessarily what you do.

I've never thought it was a good idea to act back-to-back.

Before I record for real, I know pretty much exactly how I want them to feel.

The great thing about being an actor in a film is that you're able to start knowing exactly where you're going to finish and really paint something in between. You can work to know the arc you need to build. Whereas in television, it is open-ended, and you're constantly guessing. There are pros and cons to both.

I've had some shows where I really plan out what I'm going to say. Then I've had other shows where I'm like, 'Take a sip of the Ole Smoky Moonshine and just let it be natural and cross your fingers that you say the right things.'

To do more of a concert thing, it takes so much preparation. You don't just show up and wing it. You're putting countless hours in the studio, not just to write and produce stuff, but to come up with edits and special things for the show.

I'm in professional wrestling, which is what I do for a living. I coordinate stunts. I memorize them.

Composing a concert is like composing a menu.... If you start with light pieces and play a 45-minute sonata after the interlude, it's like starting dinner with hors d'oeuvres and dessert and finishing with a Châteaubriand and vegetables.

I try to talk as less as possible and maximise the music part. I have tons of songs on my set list and I want to sing all of them, or as much as possible. If I talk more it'll eat into the time allotted for me.

Dancing's not always stressful, but I always make sure that I'm prepared as I can be, both physically, mentally, and practically.

When you feel an audience engaged and surprised and enthusiastic, reacting to what you've planned, that is the reward. It's better than the Emmys.

I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.

A lot of times I play my music at shows based on the views and the streams.

I love getting to work with the stunt coordinator. It's like choreography, like a dance.

I like to do everything you can possibly do before you go into rehearsal, because once we are in rehearsal or on the stage there will be a problem I didn't anticipate. It's really good to think we got it all nailed - of course you've never got it all nailed.

When you do an arena show, and the lights have to sync up to the sound, and the sound has to sync up to the music, and all of that - things are really mapped out, and you lose some of that spontaneity.

It's one thing to sit back and say, 'Hey let's play a club, that will be great,' but then you get there and say, 'Hey wait, this is the dressing room? Where's my dressing room?'

When I compose an album, I don't think about how to adapt it on stage.

So I'm trying to spread myself to the point to where I can do the night shows and not have to worry about the matinees, and do one or two matinees down through the year.

Then it's settled," Harriet said. "We shall work out the smaller roles later.""What about you?" Elizabeth demanded."Oh, I'm going to be the goddess of the sun and moon.""The tale gets stranger and stranger," Daniel said."Just wait until act seven," Miss Wynter told him."Seven?" His head snapped up. "There are seven acts?""Twelve," Harriet corrected, "but don't worry, you're in only eleven of them. Now then, Miss Wynter, when do you propose that we begin our rehearsals? And may we do so out of doors? There is a clearing by the gazebo that would be ideal.