I like Beyoncé because of her tenacity and strength and for giving 1000 percent to her performances, which is a lost art these days. She's cut from the cloth of some of us that really like to perform are cut from. I'm a big Beyoncé fan.
I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.
The performances make you want to get back out there and try something new and challenge yourself.
I used to struggle a lot with dwelling on how the day at work was, and I would dwell on my performance. Now, I'm like, "Well, that's over and done with, and I can't control the outcome, so move on." I just remember that it's entertainment I am making.
I'm inspired by good work. Whether it is a great performance by another actor, a piece of art, or someone doing something altruistic.
Since nobody upstages Rudolph Giuliani, his will be a Broadway-class show, perhaps his final bravura performance before November 2000, when he hopes to be turned out of the mayor's office by virtue of his election to the United States Senate.
This movie [ Buried] is strange, because it's such an extraordinary situation, both as a character and as an actor. Both of us are going through an extraordinary situation at the same time, and it was odd. It was weird not having a co-star to cut away to for the most part. It just forces you to never have a deficit in the performance.
I think that is funny to say because I've always loved her work and her strength and vulnerability, and the intensity of Evan's [Rachel Wood] performances. And to know her as a friend, know her as someone who we just have fun, whatever, and then see how present she is when she's working and how powerful she is. It was really awesome to get to sort of go into this different dimension with each other.
As a former federal prosecutor, I welcome the opportunity to hold Hillary Rodham Clinton accountable for her performance and her character.
We have a man [Donald Trump] who judges people based on their performance regardless of your gender, race, your ethnic or religious background.
For example, there's no word emocionó in English, so I have to say, "You, you really emotioned me," It's more precise, even though it sounds odd. "My father emotioned me." Or "That performance really emotioned to me."
At times, I've been so absolutely terrified of what I was about to do, whether it was public speaking or performance. Whatever it was, sometimes it had me really, really shaking in my shoes, and I decided that I was going to do it no matter what. And, of course, the critic is there, and afterwards, there's this, "Was it good enough? Was it really all I wanted to say?"
I am a musical-theater nut. When the lyrics, orchestration, and performance all come together just right, I come alive and can feel every cell in my body.
I'm most tired after I read, after I've just done a performance, but what I try to do is to fuel and eat a really healthy meal before I perform. I want to have enough energy to talk to that last person.
My ancient history teacher, Millie Lloyd, should have worn a medal for her performance at the battle of Thermopylae. She was excited and we were excited.
I remember seeing Janet McTeer in A Doll's House. My grandmother took me and we had seats in the very back row, but her performance was so powerful - it was very accessible. I felt like I was much closer than I was.
I think one of the biggest things that's changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We're getting closer and closer to an artist performance.
Americans are in need of very objective information, and sometimes it's easier to absorb the message through entertainment and through a great story than through the news outlets [where] everything is sensationalized. Not only are you getting information that sort of defies stereotypes, but you're also getting a wonderful story with hopefully good performances.
I feel like if you compare the commentary, what's covered with female athletics, as with men. On any given day, if a guy competes, you're going to critique his technique and his performance, training. With a girl, you don't do the same thing. You might mention a little bit of that, but you're also going to get what she was wearing, how she performed, what she looked like. I feel like it should be the same.
Critique the performance, and respect the hard work put in.
I like not to know, unless it's something that I need to know, specifically, for how I color a performance.
I'm a high-performance athlete: I'm running, I'm sprinting, I'm sliding, I'm doing pretty much everything and the last thing I want to worry about is my chest. I want to just worry about playing the sport at the highest level that I can.
There is a remarkable nimbleness of style, a balancing act of tone, in Voltaire, which is hard to bring off on stage. When you speak the words out loud, the effect is very different from when you read them. So one needs to do something new with a stage performance, not simply 'tell the story'.
I've seen some of my favorite actors give bad performances, and I have to tell myself that failure is a part of success.
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