I can't think of a performer who is better on television than in person.
Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.
One tries to be an observer as an actor and indeed as a director because the small things, the give-away things are what are really interesting to a performer.
Sometimes I say I feel more like a dancer than an actor, because there are things implied about being an actor that I don't really like. I feel more comfortable with the word 'performer'. I like being the thing. I like being the doer. There's a factualness to it. And then certain resonances happen out of how you apply yourself physically.
I'm a performer. We don't retire.
The Tinted Windows shows were very fun but it's very different for me as a performer. I'm not playing music - I'm just singing and I missed that. I miss rocking out on keys, drums, guitar... whatever it is.
My singing wasn't horrible, but my dancing really made it look silly. It's not like I'm a horrible singer that can't sing. But I don't have the consistency or the presentation skills that a good performer has.
I'm still learnin'. I pick up something from every performer I watch.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
My mother wasn't rich, and I never seen my father. I was a street performer. I've been shot. And now I'm known around the world, and I've touched a lot of people with my music. That's one of the great testimonies that's gonna go down in history.
I was the highest-paid street performer, probably, in the history of Chicago. I was making like $800 a day.
Done right, a performance review is one of the best opportunities to encourage and support high performers and constructively improve your middle- and lower-tier workers.
I have always thought of myself as a performer first and way down the line as a recording artist.
My primary instinct as an actor is not the big transformation. It's thrilling if a performer can do that well, but that's not me. Often with actors, it's a case of witnessing a big party piece but wondering afterwards, where's the substance?
There are so many factors that go into how you feel, as a performer, on any given movie, that it's really hard to identify which things are the things that help you be good, and which are the things that hinder you.
I'm not a performer who will come on stage and tell you everything about my life. It's just not who I am.
Most performers spend half their earnings taking care of family members.
Once I started performing I knew that's what I wanted to do with my life. But you have to work really hard to be a performer.
People tend to think that because I'm a performer and I don't go to a regular high school that I haven't personally been affected by bullies. But it's actually quite the contrary.
Some writers are more natural public performers than others; personally I find it quite strange giving interviews. But everyone has parts of their job that they like more than others. You can't complain if you get to do what you love doing most of the time, can you?
It's an immensely competitive business, and I can tell you the older you get, the parts are fewer, and the people who are proven performers are greater.
I think there's something unfortunate about the attention that performers get in our media, but the weight of government propaganda is so heavy that anyone with a different point of view who has access to the media has a responsibility to use it.
I've got a very behind-the-scenes personality. I don't know how I became a performer. I like to stay discreet, out of the public eye, very low-key.
Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.
I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
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