Stage Quotes - Page 30

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Hundreds of these companies I've seen since the beginning stages - including Dropbox and Airbnb - one of them has actually been crushed by an incumbent. The Googles, the Twitters, the Facebooks, they might be someone to acquire you, which is not necessarily a bad position to be in.

One day, when I was still living at home, a friend told 'Texas' Jean Valli about me. She was originally from Syracuse, N.Y., and lived in New Jersey but sang country. One night, she had me come up on stage where she was performing. I sang 'My Mother's Eyes,' and she was knocked out.

A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.

I remember studying so hard for so long and saying to my parents, 'I will be a teacher.' And they were looking at me like, 'Girl... you just want to be on stage. Stop pretending.' So when I chose to do music, they were relieved. My parents were more intelligent and lucid than I was.

There were about 30 children at one stage, running around like savages at a place called Callow Hill, near Monmouth, which was owned by my grandparents. They lived in the big house, but my dad had five brothers and a sister, and they all lived in various houses scattered on the hill.

My mom being raised in England, her father always wanted to pursue the arts and wanted to have a stage career in England. According to her, he never had the courage to actually pursue it full-time. I think that my grandfather's parents thought that it wasn't a formidable job to have.

All performers get on stage because they need to feel love from an audience. I might appear confident, but those three seconds before I get out there, I'm a mess. But I have to take the risk; otherwise, I'd be miserable and would feel like I wasn't seeing through my personal destiny.

Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.

You have to list all your special skills on a form when you get an agent. There's fencing, stage combat, horse riding, motorbike riding, Spanish, French, German, whatever. I just ticked everything. I talk about 10 languages according to that form. I even ticked the extreme sports box.

It's not at all good when your cancer is 'palpable' from the outside. Especially when, as at this stage, they didn't even know where the primary source was. Carcinoma works cunningly from the inside out. Detection and treatment often work more slowly and gropingly, from the outside in.

Realness is something in such short supply; you can't believe anything anyone is saying when you turn on the television, and then during the commercials, they are lying to you there also. You can't believe anything, but when you go see a drag show, something real is happening on stage.

Since the departure of good old-fashioned entertainers the re-emergence of somebody who wants to be an entertainer has unfortunately become a synonym for camp. I don't think I'm camper than any other person who felt at home on stage, and felt more at home on stage than he did offstage.

And you know what - and I don't mean this in tongue in cheek way - but it's like deja vu. When I walked in to WCW they were producing wrestling on a little teeny sound stage at Disney, okay? I'm walking into TNA and they're producing wrestling in a little teeny sound stage at Universal.

In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.

With television, attention spans have been shortened. It's something we have to fight against: the dumbing down of the audience. To be part of an audience is a privilege. To be with the people on stage, to let them reach you. If you're doing a million other things, they won't reach you.

When I drove up on the set one day, and they'd put up a sign that says 'The Bill Engvall Show,' I stood there for 20 minutes just staring at it. The director, James Widdoes, came up and said, 'What are you doing?' And I said, 'Look at this! There's my name on a stage door in Hollywood!'

As an actor, I've grown considerably. For example, it's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I do it a lot better than I ever did. I've really opened up a lot. And I'm glad I have because I'm being appreciated for it.

I was just utterly oblivious to how difficult it was, and how difficult it was going to be, and then also in the mid-eighties through the mid-nineties there was a boom of sorts. So there were plenty of stages. If I had started now, there would be very few places to get better and better.

When we were writing the 'Stage' album, we realized we'd never really done proper covers, where we were taking songs and making them our own and kind of playing around with them. I came up with the idea of doing a cover of 'Wish You Were Here,' but we didn't really want it on the record.

To me, music shouldn't be ego-driven. When you go out on stage and play songs, it is. But when you're sitting in a room, writing songs, it's a completely different process. It's a completely different place. It's a creative place, a musical place. It has nothing to do with who likes what.

There was only one elective at my college for acting, but thank God for that elective because we had a great teacher who introduced me to the Meisner technique for acting. Once I read that book, I said, 'Wow, if I could do that and have that honest moment on stage, that would be amazing.'

Patience doesn't mean making a pact with the devil of denial, ignoring our emotions and aspirations. It means being wholeheartedly engaged in the process that's unfolding, rather than ripping open a budding flower or demanding a caterpillar hurry up and get that chrysalis stage over with.

I always wanted to know, and I always used to daydream, about what it would be like to stand on a really big stage and sing songs for a lot of people, songs that I had written... Daydreaming was kind of my No. 1 thing when I was little, because I didn't have much of a social life going on.

When I was trying to come up with a stage name, I thought 'Lord' was super rad, but really masculine - ever since I was a little kid, I have been really into royals and aristocracy. So to make Lord more feminine, I just put an 'e' on the end! Some people think it's religious, but it's not.

I was doing a tour of the 'Batman' live stage production, and I challenged the cast to join me to run. One time, we were running in Switzerland just before Christmas, and it was heavy snow. Another time, we were running down the Seine in Paris on Christmas Day, and we all had Santa hats on.

When 'Twin Peaks' happened the first time, I was a stage actor in Seattle. I was called in for an audition for this pilot, and at that time, it was called 'Northwest Passage,' and nobody knew anything. I thought, 'Oh, okay, Lewis and Clark.' And from that moment, I fell down the rabbit hole.

I have a lot of experience in playing all sorts of venues. And one of my interests is to understand what constitutes the vibe of a place and what makes one concert different from another. You can't fully measure or calculate these things, yet they are absolutely evident once you're on stage.

My show 'The Big House' was picked up; they flew me to New York. I'm about to step on stage to announce Kevin Hart's 'The Big House.' And a hand grabs my shoulder, 'Kevin no, they just decided to cancel it.' It's a serious smack-in-the-face business, and either you can take it, or you can't.

I don't dislike being famous, but there have been moments when you think: 'Is this really worth it?' Sometimes you go through that stage where you're almost like selling your soul. People want all from you, absolutely everything. They want it from you. And everyone's got an opinion about you.

I'm sure I went through a stage when I resented being Indian because in every other manner, in terms of cultural reference points and vocabulary and all the rest of it, I was way ahead of everybody else - so the one thing that set me back was being Indian. And I couldn't do anything about it.

I never wanted to design clothes. I never wanted to work for the fashion industry. Shoes sort of belong to the fashion industry, which is why I'm part of the fashion industry. But that's never been my thought. My thought since I was a child was really to design those shoes for girls on stage.

I appreciate art in any form. So it applies to clothes as well. On stage, I think people prefer me in Indian outfits... in fact, it goes with the kind of songs I sing as well. Indianness in the form of a sari, or a chaniya choli or jeans with something interesting, matches my style of singing.

What I do, basically, is look at things from different angles. That is what I do on stage comedically, and that is what I do in art. I was always fascinated by the structure of things, why things work this way and not that way. So I like to see how things behave if you change the point of view.

'Man Down''s my absolute priority. If they give me another series, I'll throw everything into it because I really like the characters. But after that, I'll certainly be getting back on stage because I haven't done a proper gig for two years. Which is ridiculous for someone who loves it so much.

I lost my innocence with Johnny Cash. I used to watch the 'Johnny Cash Show' on television in Wangaratta when I was about 9 or 10 years old. At that stage I had really no idea about rock n' roll. I watched him, and from that point I saw that music could be an evil thing - a beautiful, evil thing.

I put my life in danger every time I do some of these demonstrations, whether it's in the audience hanging upside down or on the stage. We now have a lot of dangerous stunts where anything can go wrong. In fact, I have fallen two stories and landed on the stage, so I am well aware of the dangers.

I'm in a difficult position in the sense that, preposterous as this might sound, I don't like being the centre of attention. I get up on stage every night and play songs, but I almost feel the songs are the centre of attention. I don't like opening my birthday presents in front of people, either.

I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.

I'm out here for opportunity and championship and a belt that spells my name, but on a bigger stage, my bigger goal, my mindset is to completely eliminate any doubt in some of the minds that, 'Hey I don't want to take my dream to WWE. Where I'm from, what I believe in, it could cause any trouble.'

Critical and liberating dialogue, which presupposes action, must be carried on with the oppressed at whatever the stage of their struggle for liberation. The content of that dialogue can and should vary in accordance with historical conditions and the level at which the oppressed perceive reality.

The idea that you can dress up in some kind of a fake Indian outfit and get on stage is somehow acceptable in this country. That has to do with the fact that you have the Redskins, the Braves, you have people who dress up like Indians, people dress up like Indians on Halloween. That is acceptable.

I'm quite a reserved person, but when it comes to being on stage, something just clicks, and I sort of run around like a mad man. I find myself jumping in the crowd, climbing up on things, and dancing absolutely atrociously. I like to see the whites of everybody's eyes, jump around with everybody.

I had - after I sang the 'Star Spangled Banner' so badly, after my tragic singing accident, after that, you know, all my stuff kind of, like, really got even more full blown and, you know, I got stage fright and, you know, I couldn't do stand-up anymore and let alone sing and all the other things.

Every day, every one of us sets the stage for our sentiment, our confidence, and our success by getting dressed. When you feel great, when you feel your best, it opens up a world of possibility. Feeling confident and self-assured are important inputs into good days, successful days, and happy days.

I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That's what makes me feel like an artist.

If I could create a world where people lived forever, or at the very least a few billion years, I would do so. I don't think humanity will always be stuck in the awkward stage we now occupy, when we are smart enough to create enormous problems for ourselves, but not quite smart enough to solve them.

When I first did 'Moby,' I didn't realize how taxing it would be. I was climbing fifty feet up in the air and climbing down. Literally, it's so busy, you feel you're on a ship. You're always moving; you're constantly adding clothes or taking them off, and there are many people on stage all the time!

At Burning Man, the audience is the show: the boundaries between stage and public overlap and melt. Every form of self-expression, every fantasy... everything has a place. It's kind of a utopia, and everyone who sets foot in it is so impressed that they do their best to respect it and keep it alive.

Hopefully I inspire people just to lose themselves a little bit. That's what I enjoy doing on stage: challenging myself with a new territory, like performing differently, moving differently, singing differently, just let people know that it's okay just to do something that they've never done before.

When you think Tink, you should just think of me as that around-the-way girl - relatable and honest. Even in my lifestyle, my entire aura is real. I don't sugarcoat anything, whether I'm on stage or home in Chicago or just behind the scenes just chilling. I'm the same person you see on stage, always.

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