I'm passionate about nature and the respect, peace, and beauty I derive from it. My voice, my live performance, and when I'm in the studio. My children and love.
The exercise in theater is night after night you are doing the same play, but you have another opportunity to explore. It changes nightly even because of the audience and your day going into the evening of the performance. With film it's much more controlled.
My grandmother took me to a lot of theater. I was exposed to performance quite a bit - everything from Broadway to off-Broadway and dance and music as well. I was very lucky that way. It was a very rich childhood.
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 would have to say the best was when my mom formed a company for me. I write out all of the checks for my performance business. I get to see the money I make and how much it takes to do what I do.
A divinely expressed performance in any genre sets me completely on fire.
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 held four clean aces. I had youth, almost a decade of hard-core bar band experience, a good group of homegrown musicians who were attuned to my performance style and a story to tell.
My dad read The Hobbit to me originally when I was young. So, it was the first imaginary landscape I ever had in my head from the written word. It gave me a passion for reading, thanks to my dad's performance of the book.
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 feel like when there's so much conversation about women's athletics right now, we need to focus on their performance and their skill.
I also think the more experienced you get as an actor, you start to hear the conversations about why people get cast and not cast, sometimes it's so arbitrary. They decided the moment you walked in the door. And there's nothing you could have done to sway them, even if you'd the greatest performance of all time.
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.
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've seen a lot of movies that were great and scary, but not particularly fancy in their filmmaking or performance. And they're still scary, and I think a good horror movie should be scary above all things.
Don Knotts won five Emmy Awards for Outstanding Performance in a Supporting Role by an Actor or Actress in a Series [in Andy Griffith Show] in 1961, 1962, 1963, 1966 and 1967.
You can put out an album and it could be totally out of the window as far as what you want to do performance-wise.
I've seen some of my favorite actors give bad performances, and I have to tell myself that failure is a part of success.
The press concentrates on a divorce an actor's going through and they ignore the good performances he gives, or the causes that he works for.
The act of creation, as you very well know, is a lonely and private matter and has nothing to do with the public area... the performance of the work one creates.
Use what you have, use what the world gives you. Use the first day of fall: bright flame before winter's deadness; harvest; orange, gold, amber; cool nights and the smell of fire. Our tree-lined streets are set ablaze, our kitchens filled with the smells of nostalgia: apples bubbling into sauce, roasting squash, cinnamon, nutmeg, cider, warmth itself. The leaves as they spark into wild color just before they die are the world's oldest performance art, and everything we see is celebrating one last violently hued hurrah before the black and white silence of winter.
The key to becoming world-class in your endeavors is to build your performance around world-class routines. It can be difficult, even futile, to predict or control what will show up in the middle of your workday. But you can almost always control how your day starts and ends. I have routines for both.
A Financial Research Corporation study determined that the expense ratio is the only reliable predictor of future mutual fund performance.
There is no substitute for work; what seems ease of performance comes from the greatest labor.
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