I love performing. I'll never get that out of me.
I love performing live, especially when I get in the zone. But the studio is really becoming a place I have grown to love.
I love performing in any medium, and more the opportunities you have to vary things, the more you learn.
If you don't uphold your legal responsibility to enforce the First Amendment, to provide speakers with platforms and audiences with safe, the ability to listen to speakers of all different kinds, agnostic ideology, if you don't do that as a university, you are not performing your essential function.
I love making music and performing for my fans, and I want to be happy and doing what I love still. I'm not taking a moment of this for granted, and if I'm lucky I'll be able to keep doing this. I love it. I'm very happy.
Even though I'm not actually performing in the works, I love the theatrical and have this fan relationship to showbiz. And one of the things that's a disappointment to me about art is that it's always a memory of something that happened. So I try to get as intimate or as real as possible.
We're now the results of our past actions, and in the future we'll be the results of the actions we're performing now.
My experiences growing up - my father lived in New York, so I was going out there in the summers and meeting really interesting people and people having what seemed to me to be extraordinary experiences and really taking advantage of these wonderful opportunities. And so I will go - I would go to the big city and watch these people performing onstage and doing television and films. And then I would go back to Hayward, and it just suddenly felt that much smaller and sort of limiting because I had this hyper awareness of how much larger the world was.
We've long known that firms can pay higher wages if they spend less on workplace safety enhancement. Libertarians ask, "If a worker is willing to accept higher wages in return for his agreement to exercise greater caution while performing his job, why should the government prevent him from making that choice?" It's a rhetorically powerful question, yet it overlooks the fact that the agreement in question will have adverse effects on others.
My greatest sense comes from the experience of performing in the movie. When I have a great experience, that becomes a perfect movie. If it makes a nickel, it's still perfect. The same is true with a movie that's a bad experience. If it makes a bejillion dollars, I will hate it till the end of time.
I'm practically an actor. Even when you do an interview, it's like you're performing a little bit, so yeah, I'm enjoying it, it's fun.
You are mistaken, my friend, if you think that a man who is worth anything ought to spend his time weighing up the prospects of life and death. He has only one thing to consider in performing any action - that is, whether he is acting rightly or wrongly, like a good man or a bad one.
My mom was a sub teacher her whole life. My aunt was a teacher her whole life. So that wasn't hard to do. Performing in front of people started when I was a child. My mom ran a theatre. So we were around it. Getting up in front of people has never been an issue. So I think once you get over that part of it, I'm happy to teach anybody anything.
If you want some additional money for your school, we'll give it to you. But you've got to compete, show us that you're going to reform your education system so that our children are performing better.
I have people come onstage and ask me questions and I get to meet them. That's one of the reasons I like it. When you're performing, when you're doing your movies, they're not there with you.
It was also incredibly serendipitous that I would later learn I shared a birthday with Whoop [Goldberg ]. I went on to be inspired by many other artists and forms of art, and was soon directed to a place that would help harness my experiences and develop my voice within the craft, LaGuardia High School of Performing Arts in New York City.
I love doing sitcoms and I love performing in front of a live audience, so [Payne] was a really fun experience.
As a global society we are performing a great experiment on ourselves. Half of the world population wants to race faster into the future. Go visit China and India. They're ready to go. And half of the world wants to drag us into the past. The problem is both sides have guns. I think there really is a reaction. A lot of people are saying enough is enough.
I admire firms that have achieved a real differentiation from their competitors. Nike is all about mastering sports. Apple is all about creating technologies to make life easier and better. Audi is is all about introducing new technologies to make automobiles safer and better performing.
[Larry Laurenzano] gave me a junior high school saxophone to take to high school, because I was always taking one of our school horns home to practice and I couldn't afford to buy one. He gave my friend, Tyrone, a tuba and he gave me a junior high saxophone for each of us to use at Performing Arts High School with. My audition piece was selections from Rocky. We were not sophisticated. But we had some spirit about it. We enjoyed it, and it was a way out.
When I got to Performing Arts, within the first week, a few days, Bill Charlap walked in and couldn't read music but he's playing all these solos from Keith Emerson of ELP, and Rick Wakeman from Yes. Real impressive rock piano and keyboard things. And we had really, truly amazing young 13-14 year old classical players in our year who had been practicing six, eight hours a day for eight years. So it was like "Whoa."
Families that I lived with a little bit in junior high and quite a bit in high school and college. Just to have a safe, sane space with food and things like that. That's what I needed. And people were really kind and really generous. So I think the world kind of opened up my first years of performing arts, studying classical saxophone with Caesar DiMauro.
I was finishing up at High School of Performing Arts and finally, by the end of junior year and start of senior year, made some progress as a 16 year-old classical saxophone player. But not really... not like how the legit cats do. But I love the [Jacques] Ibert, love [Alexander] Glazunov, love the [Paul] Creston.
I learned some classical music history, which I had done quite a bit at of Performing Arts. But I got some more with a great teacher named David Noon, who I've been in contact with quite a bit in recent years.
Another classical music teacher from Performing Arts that I've stayed in contact with is Jonathan Strasser.
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