I remind myself: I am the best. I have the best. And I deserve the best. This is one of my personal mantras that I tell myself every morning before auditions, character work, and performances.
Seeing babies and little children smile or even just be inquisitive about a bottle cap isnpires me. Watching a great performance, particularly live or in the moment. My favorite actor at the moment is the three-time Tony Award-winning Mark Rylance. Makes me work to be better.
In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."
I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.
I'm totally a narcissist, so I was doing all this performance and having lots of weird ego time, and learning to set aside my love for the ego and find a deeper love for myself and through that seeing myself as one with all beings. And through loving myself, loving all people in the world, that was my cure for narcissism, the only cure.
The moment I do any puppy dog acting, I think the joke is dead. It's in the truth of how I play it, and the real painful honesty that I approach my performance with.
I'm not really interested in making someone endure a performance or stand there for too long. I like to think about the length.
The only difference with wrestling is we're like a live performance. So we're feeding off the audience and if they do't like something, they can let us know immediately.
Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.
In a sense, I like to think of the live performance as something different than the record, not necessarily looking to exactly recreate the record. Sometimes Matt and I just do duets folk-style. Part of the fun of seeing a live show is having it be different from the way that you hear it in your bedroom or wherever you listen to music.
I love the stage, it's my first love - but, it's gone. You do your performance, then it's a memory. It only lives in the moment.
All but a few of the organizations do not specifically promise to deliver superior investment performance although it is perhaps not unreasonable for the public to draw such an inference from their advertised emphasis on professional management.
As buoyancy is not contrary to other characteristics of leadership, including decisiveness, accountability and performance standards, I don't ever think it can be self-defeating.
I'm going with Charlotte Rampling. In 45 Years [movie], you start out feeling so bad for her, and then it kind of shifts. I don't know how long you have to act to be able to say everything when you say nothing. The acting feels so real. It's not a fluke that a movie that probably no one's heard of, an actress performance comes out of it.
You know that this vignette and that vignette belong side by side, you know that a certain turn of phrase you've been saving will probably work best within a given section of the narrative. As in a jazz performance, writing lives or dies by what's produced in that moment. But that moment is attended by long preparation.
I can't imagine a successful comedy movie without a successful comedy performance at the heart of it.
I write and rewrite and memorize, and then inject my performance with improvising and spontaneity, because if something feels too rehearsed, it's not going to be fun.
When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.
I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.
They call them performance artists, but they shouldn't be making an album. They should just be dancers. I don't know, I'm a musical snob. I feel like if you're going to record music and you're going to be a singer, you have to be able to sing.
When I go to a show, all I really want is to hear a performance that sounds legitimate, and not just going through the motions. I'm not sure any amount of jumping up and down really persuades me in either direction.
I have never played a superhero in real life and I would imagine it is very different Voiceover is super easy. You just come in and do a bunch of versions of it and then the animators and directors on that side of the movie put your performance together.
35mm film isn't ticking away so it's subconscious - performances are allowed to breathe in a much more real way I think.
I can't say what my greatest strength between acting and singing is...I'll leave that to the critics. Maybe my best strength is performance itself, being with the audience and feeling what they feel, bouncing off of them.
Traditionally, an engineer is responsible for capturing sound - microphone choice, gear, etc. A producer can have a number of different responsibilities - anything from songwriting to judging performances - setting mood, and (perhaps most importantly) choosing which songs to work on!
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