Performance Style Quotes

I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.

Widespread Panic discovered a couple of my songs and started doin' 'em on the gigs. They'd take a song and expand it and everybody plays a long time and people really like that. But I made my living as a songwriter so I try to get to singin' and get it over with.

When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.

I'm one of those people that feels that Americans that shouldn't do Shakespeare... The rhythms of the English language and the mannerisms of the English speech seems to work effortlessly with William Shakespeare, but when Americans do it, something seems stuck.

There are some similarities, I think, with all the characters I play. I'm not a guy who sees the desire to transform with each part; I'm not a piece of clay.

When you play Bach like Chopin, and Chopin like Bach, something good happens.

I feel I should never do passive characters. They don't work for me.

Everyone wants to be an arena act, and it's making country music evolve. People are cutting things more for that arena environment. But who's to say that that is a sign of any more of a successful career than what James Taylor has been able to do, when he still comes and plays the Ryman every two years?

I grew up doing regional Shakespeare, and when Hamlet sees the ghost of his father, there's something about that that you don't really do in film anymore.

Getting to do 'December Songs' in a cabaret-style format was so interesting because it's like a one-woman song cycle that actually tells a story. It feels like a theatrical experience more than a cabaret because I didn't talk in between. We went from one song to the next, nine songs in a row - bam - I told the story in half an hour.

When I'm doing a set as an artist I'm right in front of the stage the entire time, interacting with the crowd. The DJ set's a little different but they both are great and high energy for the crowd.

I want to keep the same kinda vibe where we've got the dance element and hip-hop. I'm going to be singing a lot more, and I want to write more heartfelt songs.

I watched Ali, studied Ali, and I studied Sugar Ray Robinson. I watched them display showmanship. I watched them use pizzazz, personality, and charisma. I took things from them and borrowed things from them because boxing is entertainment.

You know, being in a rock band, you can't overdo the costume changes too much because everyone thinks, oh, that's not a real rock band. Look how many times he changes costumes. That's not rock. Rock's about going on in a T-shirt and staying in it and getting it all dirty. But that's not really my approach.

Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.

Someone I met years ago explained to me the difference between a personality and an actor, a personality being Eddie Murphy or Roseanne Barr, and an actor being Morgan Freeman and Alfre Woodard or Marlon Brando.

Especially, I don't want to ever be compared to The Rock because I'd be the poor man's version of The Rock. I'm just not him; it's not who I am as a person or as a performer. The Rock's very big and bold, and I'm not.

Every movie is different. Sometimes with movies, there are roles you should just leave alone and relax with and keep it light. And there are other ones where you want to work with an acting coach and really delve in there.

I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that's my instinct.

I am not that big a method actor.

I consider myself more of a producer and a musician than a DJ.

The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.

Obviously I still gig on my own, but I've always heard my music with a band.

I am thrilled Lady Gaga has helped to teach her audience about long durational work and performance art.

It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.