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I think, as a tire manufacturer, you need to deliver a product that, up to a certain specification, needs to hold the loads and the speed. But you want a tire which degrades in performance so the races are not boring, while at the same time, you want it to have peak performance. All together is a very difficult task.
As a child, I would watch 'Frasier' a lot, and there was one episode with Derek Jacobi where he was playing this Shakespearean actor that was a terrible Hamlet. And he reenacted the performance, and for days I went on. I'd perform and do that, and I knew I wanted to do something kind of like that as a kid for awhile.
There is no doubt that some plant food, such as oatmeal, is more economical than meat, and superior to it in regard to both mechanical and mental performance. Such food, moreover, taxes our digestive organs decidedly less, and, in making us more contented and sociable, produces an amount of good difficult to estimate.
Comedians work great as actors because they're good under pressure. With a lot of actors, you have to make them feel like everything's going really well to get a good performance out of them. But, if you have a comedian on the set, you can tell them, 'Hey, you really are screwing this up,' and then they just get better.
In a strange way, Louise Erdrich is perhaps our least famous great American writer; she is not reclusive, but she is reticent, and her public appearances give the impression of a carefully controlled performance. But Erdrich has also shared many of her most intimate emotions and experiences, in some form, in her novels.
There are so many great actors, but I really have a lot of respect for Johnny Depp. I've seen a lot of movies with him in it and, even if it's a film that wasn't as successful as you thought it would be, I've never seen him put in a bad performance. My favorite actors from history have to be Steve McQueen and James Dean.
When I got out of college in 1991, I had four jobs in four different parts of L.A. There was I Love Juicy, a smoothie bar in Venice, and the Videotheque on Sunset Boulevard, across from the old Tower Records. I was also an intern at the 'Los Angeles Reader' in the Miracle Mile and at 'High Performance' magazine downtown.
There are a lot of parallels between being a mutual fund manager and being a general manager. Both in the financial markets and in baseball, we're dealing with a world where uncertainty reigns. We're trying to predict the future performance of human beings. It's a fundamental difficulty for which we both have to account.
It is the single image, as used in a photograph or a painting - or the frame of a film - to which words have been added to enlarge the context. The method is not the same as that by which most paintings are named. It is closer in its performance to what dialogue does to a movie, to what the caption does to a good poster.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
The term 'overachiever' sort of makes it look like the person has mediocre talent and he just works so hard that he achieves beyond what you would think. 'Overachiever' is sort of a - it's sort of an incorrect term. An overachiever is someone that's just willing to pay the price to get so much more out of his performance.
Seeing the work of directors like Romeo Castellucci, Ivo van Hove, Thomas Ostermeier, and Simon McBurney and Theatre de Complicite, was, and continues to be, hugely important to me. To my mind, these are artists who are forging new languages of performance and storytelling, and their constant reinvention is very inspiring.
Selena is my angel. She is my biggest inspiration. Being from San Antonio, Texas, I really feel that connection to her because she had a lot of performances and a lot of her most iconic performances in San Antonio. Back in my hometown, we love her. We all, as a community, celebrate her and adore her. We keep her memory alive.
With high fashion, it's a performance. You're trying to interpret a fantasy in a very physical way, and you really are playing a character. I've played men, dead people, famous people, historical icons, and it's no mean feat. It's quite an insular experience even though the crowd is in front of you and there's an expectation.
We make too much out of past performance, and it's very misleading to investors. It causes them to move money around. They buy a fund that's hot and then it turns cold as all hot funds eventually do. And then they get out. Well, buying at the high and selling at the low isn't going to leave you a satisfied shareholder, right?
It's the job of any business owner to be clear about the company's nonnegotiable core values. They're the riverbanks that help guide us as we refine and improve on performance and excellence. A lack of riverbanks creates estuaries and cloudy waters that are confusing to navigate. I want a crystal-clear, swiftly flowing stream.
In the classic 70s episodes, Columbo is rarely seen on his own. We typically do not see Columbo 'for himself,' only for the criminal, leaving the possibility that the entire Columbo persona - his shambling manner, his absent mindedness, even his references to his wife - may all be a performance designed to disarm the murderer.
It took me a while to learn that certain people may have important skills that are not always blazingly apparent. Gradually I came to realize - slow as I may have been - that what mattered was performance, that sometimes people might have to be helped to develop, and that it takes all kinds to make an organization run properly.
A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.
Does art have a future? Performance genres like opera, theater, music and dance are thriving all over the world, but the visual arts have been in slow decline for nearly 40 years. No major figure of profound influence has emerged in painting or sculpture since the waning of Pop Art and the birth of Minimalism in the early 1970s.
After my performance 'The Artist is Present (2010)' at MoMA in New York, many scientists became interested in why so many people who sat across from me began to cry. I was incredibly moved by this experience also, and was very curious to know what happens in our brains when we spend time not talking, just looking at one another.
When we did the first 'Uncharted,' we weren't able to capture the audio with the performances. We would go back and do A.D.R. - Automated Dialogue Replacement - in which you would hear yourself and then repeat your line. Even when we were doing that, there was a slight disconnect because you were trying to recreate a performance.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
Win or lose or draw, you always go back and critique your performance and say you could have done things better. Even if I put the guy away in one round, I can go back and say I made a lot of mistakes and need to tighten up. But that's the type of person I am. Improve. Improve. Improve. When I lose I come back stronger than ever.
In a film like 'Kannathil Muthamittal,' I can't have a Rajnikanth or a Kamal Haasan. If you have a star, the expectation of the film is different. So, you cast according to the subject of the film. Some films are best done with stars because it gives you a base on which if you can get the correct performance, you can reach higher.
The connect that I have with the audience comes from my hard work and sincerity towards my craft and also because of the opportunities that I have had. I have been able to engage with my audiences. They observe my performances minutely. They think I will do some magic on screen. They like me because I don't do over-the-top acting.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
You can't be perceived as 'the black actress who doesn't get the same kind of roles as the white actress.' You gotta run the same race. You gotta give the same quality of performances. You gotta have the same standard of excellence, even though people know that you're coming to the race in a deficit. That's just what life is about.
As a multisport athlete, I was always fascinated with competition and how to win. At HBS and later at the Harvard Department of Economics, I was drawn to the field of competition and strategy because it tackles perhaps the most basic question in both business management and industrial economics: What determines corporate performance?
The No Child Left Behind Act will be one of President Bush's enduring legacies. And it was engineered and inaugurated with a truly bipartisan coalition in Congress. Accountability, standards, and truly measuring student performance just makes sense. The only real debate about the law was and is whether or not it was adequately funded.
Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
My manager came up with the idea of taking a Pro Tool rig out on the road to record every night and I thought it was a great idea. I felt like it would be good to record over a certain period of time and then take the best performances of that collection of recordings. It appealed to me that it wasn't going to be from just one location.
Sexual performance problems, such as impotence and frigidity, are 70 to 90 percent changeable. But a homosexual who wants to be a heterosexual - that's close to unchangeable. And a transsexual - say a man who believes he's really a woman in a man's body - is completely unchangeable; you'd have to change the body to conform to the psyche.
I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.
Trust gives you the permission to give people direction, get everyone aligned, and give them the energy to go get the job done. Trust enables you to execute with excellence and produce extraordinary results. As you execute with excellence and deliver on your commitments, trust becomes easier to inspire, creating a flywheel of performance.
If anybody's feeling a little down because of a comment or whatnot we're always there to remind each other that we're all trying our best and it doesn't really matter about one performance or one mistake we've made, it's more of the overall outcome that we're striving for. Being supportive is the best way to kind of get through those times.
Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.
This is more than just the rebuilding of the Globe, creating some kind of monument to Shakespeare which he doesn't need. His books are his monuments. But this will be a major center for the study of Shakespeare in performance. We are making the only faithful effort to restore the theater in every respect as close to the original as possible.
I think I'm a story-based artiste. So I would opt for the performance-oriented role. I usually go by intuition while choosing a script. Also, I do not analyse my performance, nor do I bother about how my film has been performing at the box office. I personally love challenges and am game for taking up things which I haven't attempted before.
Bono told me how to dance in high heels and he also told me about U2's Glastonbury performance and how everything that could have possibly gone wrong went wrong, including him ripping his trousers on stage. I think he was lunging and his trousers ripped! He was telling me how he had to find a new way of performing that didn't involve moving.
I think what helps enormously is the cultural environment that you have set. We constantly try to monitor it. When you have a base to work from that holds it together, that's something that you can go back to and rely on. A lot of is down to the consistency of work, the consistency of message and the consistency of the players' performances.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
The key for me with 'Star Wars' is to stay in their world. Don't get in the way of what is already known and what works. I think of the basic nature of the filmmaking process that worked so well for the original trilogy. No stylistic flights of fancy for the sake of showing off. Tell the story, get the shot, get the performances, and move on.
If it was up to me, I would be given ample time to do a full on performance. I would play all of the instruments that I can play, really show off to the world, then maybe have an Intercontinental title match and follow that up, maybe go out against somebody like The Undertaker or John Cena, anybody that can really top off a great performance.
Pristine vulnerability is just so boring to me. The performances that I love are ones like Gena Rowland's in 'A Woman Under the Influence,' where women are allowed to be messy and imperfect. It's that kind of woman that has always inspired me to seek roles that are a little out of the box. I just haven't always had the opportunity to do them.
The first important role was a Broadway lead I did called 'The Royal Hunt Of The Sun' by Peter Shaffer, the guy who did 'Equus' and 'Amadeus.' Many of the important roles that I got later on were because the guy who was going to hire me was in that audience and had his mind blown. I tend to do that. I blow people's minds with my performances.
The only time the private parts of someone's life are relevant is when they're affecting public performance. And just because someone is a public person doesn't mean that any part of his or her private life is open to scrutiny. If someone is doing his or her job, you have to have enough empathy to understand that we all have personal problems.
Sometimes people ask me, 'You do stand-up?' I try explaining what I do, and I don't think they really get it. So: 'Yeah, I do stand-up.' I wish there was one word to express what I do - that way, I don't sound arrogant. Whenever I say I'm a performer, people think I'm a performance artist: 'She paints herself white and pretends to be a flower.'
Projects are usually undertaken to either solve a problem or take advantage of an opportunity. The probability that the project - even if precisely executed - will complete on time, on budget, and on performance is typically small. Project management is utilized to increase this probability. So in a sense, project management is risk management.