It's interesting because what I do and what I sing is, to other people, pretty unique. I feel I'm creating my own path... and I'm working on growing as a performer.
I used to play for 200 people and now I'm selling out places that hold 16,000 people. It's a big change, and it's so cool to see people out there screaming the words to songs that I wrote. It just really reassures me that what I'm doing is working, and it really boosts my confidence, as far as on stage as a performer and a writer.
I learned a lot about my audience and about myself as a performer, what I like to do live.
Any kind of music can be written badly and it can be written wonderfully. I admire a top performer in any field.
If you own a portfolio of stocks, you must learn to sell the worst performers first and keep the best a little longer.
Johnny Depp, as far as I'm concerned, is number one. Of his generation, there's no one who can touch him. Some performers, today, it's like looking at holes in the air.
No, I'm a theatrical, live performer or a movie performer.
I knew I wanted to be a performer and do comedy at 5 years old. My dad's wife, Marlene Rosenbaum, was boiling water and she goes, "What do you want to be when you grow up?" I said, "A comedian." And she laughed and laughed because she thought that was the cutest, funniest thing.
I think so much of what informs us as performers is what we had to endure as kids growing up. I was the youngest in my family. I always got a lot of attention.
Mads has a terrifying subtlety and as the episodes go on, you start seeing the way a person can command other people by doing practically nothing and terrifying the sh*t out of you. He is the most astonishingly subtle performer with the most incredibly keen sense of what his face can do and how his words can form. He has a mission. Nothing is by chance. I truly believe as long as we have success in seasons that Mads will become the defining face of Hannibal Lecter.
These are not necessarily our agendas, but we feel a part of what a performer is, and what a performer has to say is more than just words and music.
It takes about 6 hours of practice a day for quite a few years to become a professional juggler. I started when I was 14 and that discipline has helped me immensely as a performer.
I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.
Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.
What you learn from working with other performers and musicians is invaluable, really, and can only help you grow. I mean, if you spend your whole life focusing on yourself, you're not really learning much.
There isn't a performer on earth that isn't an exhibitionist. There isn't any point in being in this business if you're not an exhibitionist. And, by the way, you can be an exhibitionist and be very shy as well.
Society is about masks and hiding and pretending to be something that you're not and not opening up, and in acting, you do all of those things, but it also shows the performers in a very raw state. They have to literally upset themselves to get to that position sometimes. You don't need a load of people judging you or not being interested in what you're doing or being an ass on set because it ruins it.
I consider being a performer work. I come from a theater family; I've been an actor all my life. I started acting when I was a kid, and I've earned a living as an artist all my life. It's my job in the sense that it's everything I am, the only thing I know how to do. I literally do not have qualifications to do anything else on this planet. Seriously, it's scary. [But] I don't consider it a job [because] it's my religion - it's my faith, it's my family, it's everything to me.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
I've always felt kind of safe on stage, protected. I've talked to other performers about this and they feel the same things, particularly in the live arena. I never get nervous going on stage to do a play. Doing film or television I'll have more butterflies.
None of the original love and feel for going on stage is gone. I'm not a true singer. I'm performer, and I need to be on stage.
You might be feeling sick or a little down, but the second you hit the stage and hear the crowd, you're ready to perform. That's what a true performer is.
As a performer, I want to hit the last row of the arena. I want to make big moves. I'm a spaz, naturally.
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