Look, if I ever stop being grateful for gigs, I just need to stop. Because this business is... you know, it's just so kind of job-to-job, and the fact that I've continued working... I'm just incredibly thankful for it. And I never, ever take it for granted.
Calgary wins for my coldest New Year's Eve gig. That's when I learned Fahrenheit and Celsius cross at 40 below. I could see callers' breath coming out of my phone.
If your gig is not in an office for eight hours a day, its going to be somewhere. If you're a truck driver, you get on a road. If you're a musician, you go to where the people are going to show up and you take the gig. I enjoy it, so I don't and I'm not complaining. Its just the traveling can get to be a bit much.
The summer gig turned into my day job. I was an arts administrator who helped make indie flicks. At the filmmakers' encouragement, I tried shooting a couple of shorts of my own. Directing was stressful, it was not my strength. But writing the scripts and helping others with their scripts - that was a gas. Making stuff up the way I wanted to see it was the biggest kick I ever experienced.
I have known people throughout my years of playing where maybe they had a gig, but then lost the gig because they didn't really move forward with them.
Hopefully, there's a place in music for Tinted Windows. If we're really trying to be iconic, we should just stop right now. If one of us could die, that would also help. But I don't think anybody wants that gig.
To come out in the music business, you only really get one shot. A lot of people get to play small gigs first, and build up that way, without anyone really seeing them.
Of course, uh, the universe is gradually slowing down and, uh, will eventually collapse inwardly on itself, according to the laws of entropy when all it's thermal and mechanical functions fail, thus rendering all human endeavors ultimately pointless. Just to put the gig in some sort of context.
Playing live, you can't survive, certainly not in England. We used to work daytime jobs and play gigs at night. It was very exhausting.
When I do stand-up for a long time, I'll get burned out, then I'll get an acting gig. For me, the grass is always greener. I'd like to do a mixture of all of it. My goal is just to do small movies that I've written. That's what I'm trying to do now, just write smaller movies.
I'm nervous ahead of every gig. I feel like running away three seconds before I'm due on stage. But I'm all right as soon as I get the mic in my hand.
When you go to a concert, part of being there is that you're all hearing the same thing. It's about being in a crowd. If you go to a gig and there are two people there, then it's not the same thing.
I did a modeling gig once, but I am not a model. I want to be a model because it's a lot easier than acting.
I was recording stuff with my dad when I was like five, six years old. I played with him on tour. I'd gone with him to Japan in '91, played some gigs, did a couple shows at the Albert Hall.
After the week at the Fillmore we flew down to L.A. to hang out and pick up whatever gigs we could. We did a gig in Santa Barbara on July 1st and then the next night we opened for Sam & Dave at the Whisky.
One of the greatest pleasures of working on shows is that I enjoy watching the actors - who are all younger than me now - and their careers. I love seeing how they're doing and seeing them getting good gigs and doing well.
I've been doing magic since I was five years old, and when I was trying to get acting gigs, I found I could make a good living at it. It's great to kind of shake the cobwebs off and get the feeling of a live audience again. I love close-up magic, the card stuff, the coin stuff, the really up-close David Blaine stuff.
T.V.s weird because its both the greatest gig as an actor potentially because it can be all this work for all this time, but there are so many question marks at every stage of the process.
And I never missed one concert. In 89 shows, I think I did one a bit suspect show. In the old days, I'd pull gigs left, right and center because I was too f - - up.
I'll tell you what I think in general about people who want to make their Broadway debut that are not trained stage actors. Don't they know, Broadway ain't for sissies? It is a tough gig. You are responsible, physically, mentally, emotionally, for eight shows a week, at the top of your game. It's not easy.
I'm one of three judges on 'MasterChef' with Gordon Ramsay, but I don't want my own show. I'm kind of used to the sidekick gig.
Sure, theater is tough because you're not home at night a lot and you work on weekends - every job has its downside. But to do something that you love doing for two hours a night, that's a pretty sweet gig.
One of my first gigs was as a guest star, and I was supposed to be a big imposing character.
I love the press; I even like the people that don't like me. If it wasn't for those people, no one would know who I was and I wouldn't have a gig.
If you're looking to freelance, just get as many gigs going as you can, and you can make it work... It's about getting as many side projects as possible, keeping as many balls in the air as you can, and what you're doing, basically, is diversifying your portfolio, with the same kinds of rewards. One falls through, and you still have another one to work on.
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