Quotes of All Topics . Occasions . Authors
I feel that the work that I have done in the comedy arena, is priceless in terms of what I learned, timing, everything that these incredibly talented performers were generous enough in teaching me.
It bothers me when people say, 'Oh, you're so down to earth - for an actor.' Even when they don't say 'for an actor,' I feel like that's the implication. Why are the standards so low for performers?
What I love so much about drag is that it has politics at its very core; drag performers aren't afraid to talk about politics in our community and the changes we need to see systemically in society.
I wanted to break the idea of what male performers are supposed to show, what performances girl groups are supposed to show. I really wanted to break those labels, showing that dance is a form of art.
I've seen some beyond-amazing performers do karaoke who should be on stage somewhere, and I've seen people who you rather didn't enter the bar. That's the beautiful thing about it; it's for everybody.
People who aren't complicated in real life come through as pretty bland on the screen. Most great performers are not very happy and well adjusted. Perhaps that's the price they pay for being originals.
I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.
A 90-minute time frame is not long enough to tell a good female story, and that's why long-format television has become so great for female storytelling and for female performers and directors and writers.
I think, describing Elvis for me would be a very generous king. He was the king of rock and roll, will always be. He's whats made it possible for everyone to be performers and to do the things they do now.
I have been trying to find out exactly when listeners and performers decided that applause between movements would not be allowed, but nobody seems to have been willing to admit that they were the culprit.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
What you learn from working with other performers and musicians is invaluable, really, and can only help you grow. I mean, if you spend your whole life focusing on yourself, you're not really learning much.
It's never like we're up there being miserable at work, that's not something that happens for us. We love our work. So, when the performer loves what they're doing, it's easy for us to love what we're doing.
I have a bunch of storylines that I could pass to other performers or especially all my knowledge that I have when it comes to building matches, to creating an exciting finish or telling stories in the ring.
Star performers are my favorite to manage and lead. Star performers are critical to any organization, and the key is how can you capture their heart-share and their mind-share when they're on this fast track.
I was looking at making a shift in my career. I've been so blessed I'd like to be able to give that back. If I could find young artists, young performers I can nurture to have a career I would really like that.
In terms of stage presence for me, I'm influenced by a myriad of things. A lot of punk performers, people like Dave Vanian from The Damned and Davey Havok from AFI was a huge influence on me when I was younger.
Questions matter. In business, remarkable performers are brilliant at getting to the right question: the one that speeds them to the place they need to get to and offers them the missing piece they need to find.
I think that all the talented filmmakers sort of share, I think, a sense of allowing magic to happen; of creating a stable and secure environment for performers to feel they can push to the end of their ability.
The mind starts to do things that you didn't even realize it could do. I suppose it's the manipulation. I suppose it's the sense of power, the center of attention, and the me-ism. And performers have to have that.
I'm from the school that great performers and great leaders create more great leaders. Give people other experiences, other responsibilities. Have them join organizations within the company and outside the company.
My work is very popular with performers, and there are theatre people who get what I'm doing and what tradition I'm working in. I'm very grateful to them - they're my people, who understand why I work the way I do.
I'm separated by other performers with whom I might be lumped, since what I say is so intensely personal. I'm anti-art and anti-poetry. As much as possible, I want to inflict my personal pain on the rest of society.
I actually think I suck. I think I'm one of the worst announcers, one of the worst performers there is. It blows my mind that I keep getting hired. But when I'm doing it, yeah, I'll admit: No one can do it like I can.
I think I would like to see more roles for South Asian performers that are more inclusive and part of the American Diaspora, the American tapestry, perhaps the way that African American and Hispanic roles have developed.
Most performers reinvent themselves. Madonna, Michael Jackson, P. Diddy. They reinvent themselves into different kinds of images. Elvis Presley was always himself, an original, and he never tried to be anything but that.
They've pursued their own agendas, and they've done what they've wanted to do and not pursued traditional careers in the music industry. They've followed their own instincts, and they are in many ways maverick performers.
When you do a really good play, the audience and the performers are looking into the same looking glass, the same microscope. And the specimen they are looking at is human life and that's why I do it, that's why I like it.
The cast you are working with is important because it involves a give-and-take relationship. For me, when you have strong performers, multiple things happen, the magic of creation happens. That's where you build the craft.
One of the great things about shooting in Los Angeles is you have access to all these great performers. We love working with ensembles, and that process of getting a great group of people together and setting them in motion.
If you support diversity and think shows should give a portrayal of what America truly looks like, then performers with disabilities must be included in that equation...People have been very good at being politically correct.
The biggest concern for most actors has and always will be getting enough work - it's just part of our profession - but a real change is the idea that performers have to be more versatile and entrepreneurial in their careers.
Whether it's a song you write or a television show or a movie or professional wrestling, there are three components to IP law. There is publishing, there are writers, and there are performers. The publisher is always the owner.
Whether you speak English, Spanish, Chinese, Russian, everybody can speak wrestling and it's really cool to go to different cultures and societies and see how the littlest things we do as performers influence the biggest things.
I think Phil Collins is one of the most underrated musicians, singers, performers - he is absolutely amazing, I think, and I think he's probably got a bit of a rough ride occasionally because he became so mainstream and so popular.
I've seen many great performers on stage, from Dean Martin to Celine Dion, but nothing beats the first time I saw Elvis. There was no pomp, no pyrotechnics, nothing to distract you from the raw talent of the man in the white jumpsuit.
My parents were working performers, so obviously I saw that there wasn't a lot of fairy tale going on there. It was a precarious world. One that they were deeply committed to and deeply loved, but one that required a lot of hard work.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
There's a great deal of disturbance in this country and how black feel about what happened in Katrina, and, you know, many of the comics, many of performers are in Las Vegas and New Orleans trying to raise money for what happened there.
When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.
There are plenty of actors who've caught the singing bug and vice versa, but with musical performers, you're constantly a persona - which is something I love about acting: you play a character, you leave and you get to be yourself again.
The words we use have weight. Whether it's in a conversation with a friend or something said publicly on stage or broadcast. And as performers, we know that because that's why we choose the words we use - that's the whole point of comedy.
Asthma doesn't affect me, even though I have it. It can seem like it wants to act up a little if I'm nervous before going on stage, but that's natural to many performers. If I think it's going to be a problem, I just reach for my inhaler.
As an actress, I think it's important to look back and realize that we aren't always quite as original as we think we are. There's this grand, textured history for us over the last 100 years of incredible writers, directors, and performers.
I'm much more interested in lesser-known eccentrics and characters and performers. Like Matthew Buchinger, who was born in Germany in 1674, had no arms or legs and yet did magic, and had 14 kids, and made the most extraordinary calligraphy.
At the end of the day, I look at it like this: pro wrestling is really hard on the performers, the luchadoras, and any time a performer is in a position to do something good for themselves and make money, I'm always happy to see that happen.
There are two types of people, two types of performers: Performers who know how to keep a show going, literally, when the power is gone and performers who haven't had that much experience and will panic and freak out and don't know what to do.
Trans women, trans men, AFAB - which is assigned female at birth - and non-binary performers, but especially trans women of color, have been doing drag for literal centuries and deserve to be equally represented and celebrated alongside cis men.
I think there's something unfortunate about the attention that performers get in our media, but the weight of government propaganda is so heavy that anyone with a different point of view who has access to the media has a responsibility to use it.
One think that you notice about anyone that gets up on stage is that they don't really have a lot of self-awareness. It's kind of a trait that performers don't have because you just kinda just have to let go and do whatever you want to do on stage.