The worst thing about the life of a jazz musician on the road is getting to the gig. Once you're there and playing, it's marvelous.
I want to have a good time myself. I don't want to dread going to work no matter what the gig is. I think, selfishly, I will make sure that I have a good time; how about that?
The place that I worked I used to joke about it. There was a, every morning at 10:30 I'd come into work and I'd go into this cubicle that had a little upright piano and fake white cork bricks on the wall, and a little slate that came out of the wall that you could actually write on. And a door that locked from the outside. Every day from 10 to 6, we'd go in there and pretend that we were 13 year old girls and write these songs. That was the gig.
Little Wing is like one of these beautiful girls that come around sometimes ... you play your gig; it's the same thing as the olden days, and these beautiful girls come around.. you do actually fall in love with them because that's the only love you can have. It's not always the physical thing of "Oh, there's one over there ...", it's not one of those scenes. They actually tell you something. They release different things inside themselves ... "Little Wing" was a very sweet girl that came around that gave me her whole life and more if I wanted it.
If you've got craft, you got game. If you got game, you can write your way in and out of anything. Writing is the best gig in the whole business, as far as I'm concerned. It's the only job where you don't have to wait for someone to tell you what to do. You just sit down and make s**t up.
The only goal is in the process. The process is the thing…with little flashes of light here and there. Those are the gigs, those are the live shows. But it's the life in between—that's all I got.
The Bassbone works great in the studio or on the live stage. Throw it in your gig bag and take it wherever you go.
My first gig was at Radio City Music Hall when I was 13.
Our parents had to drive us to the gig, or even go in with us because of the liquor laws. The owners were really scared to death that we'd drink. We usually just went out somewhere and smoked weed. I don't smoke anymore, but back then we used to smoke quite a lot.
I did a gig in the U.S. once for the homeless. I said 'It's nice to see so many bums on seats.'
I was always pretty broad. I've had a couple bad experiences. One time, I showed up late for a gig in Brooklyn at an Italian restaurant. I ran on stage, did my show, and then some guy in the audience threatened to kill me because he didn't like my joke. Instead of talking to him, I just ran off stage. And then, because I was late, the owner of the restaurant threatened to kill me. And I was 19 years old and so scared that I almost started crying. But, I've done every gig you can imagine, in every state.
Most of actor's work is done at home, in your hotel room, in the wee hours of the morning thinking and reading and feeling, walking around and listening to music. It really just because an internal exercise, whatever skills. It's great if you have to learn something new for a gig and designing a character physically is always fun but it does become an internal exercise in separating the wheat from the chaff.
Every time I do a gig, my goal is getting new fans.
I've played lots of villains in my time and I think the reason they've been so successful is that they're not two-dimensional. They're not black and white. That's the gig.
Basically that you can do anything. If you pool your resources,and just give up the idea that you're going to act like a normal person or sleep, if you want it hard enough and do it well enough, it happens. A lot of really talented people either sort of get crushed under the wheel of the movie studio system or desperately try and get their next gig in TV. I understand why, because we've all got to put food on the table and the brass ring is out there, we'd all like to be making the Emmy-winning shows and the blockbusters and all that, but at the same time you could be doing stuff yourself.
The most common occupation for women in G rated films is royalty - which is a great gig, if you can get it.
If I have a gig in the evening, I get 'the doom' at about 5 P.M., when I think I'm getting flu.
Stand-up is a real art form in itself and one that I really think to be good at you have to devote your entire life to. It's the really, really good ones that end up getting to do the things that I like to do: movies, TV shows, and stuff like that. It's a really hard gig and it just never called to me.
I love festivals because they seem like more of an artsy, supportive attitude - which benefits a more theatrical performer sometimes with having theater and other non-club venues, as well as the audience being filled with other artists. It's nice to be with other comics, as usually at other road gigs, I'm solo for the most part.
Oh, I am a cook and a captain bold, And the mate of the Nancybrig, And a bos'sun tight, and a midshipmite, And the crew of the captain's gig!
Part of the acting gig is when you're let loose some improvs and put stuff into your own words every once in a while. That doesn't get you a writing credit or more money. It just makes it more fun.
I think I probably learned something from almost every gig that I've done, not only because each occurred at a different phase of my development, but because each one had something different to offer. Ideally, you should be able to get something out of everything, positive or negative. And if it's negative, try to turn it into some kind of learning experience.
I shined off high school band, marching, jazz studies. At the time I was too cool for school, I had this professional gig and I was going home taking a shower and heading to downtown Hawaii, Waikiki.
I want to be made better personally. That is the gig.
What actors are good at doing is walking into a situation that should make you incredibly self-conscious and frightened and doing it anyway. That's the gig, pretending that you are comfortable.
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