My dad took me for an audition once, to show me, OK, you want to be a child actor, this is what its like. I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing Memory. I was terrible. Terrible.
I can pick up a screenplay and flip through the pages. If all I see is dialog, dialog, dialog, I won't even read it. I don't care how good the dialog is - it's a moving picture. It has to move all the time... It's not the stage. A movie audience doesn't have the patience to sit and learn a lesson. Their eyes need to be dazzled. The writer is the most important element in the entire film because if it ain't on the page it ain't going to be on the screen.
Musicians ought to reclaim some of the power in the houses of production. The opera houses are run either by managers or by stage directors, never by musicians.
I started very early. I started to be interested in design when I was 14 years old, basically, and before I was just like anybody else, any other kid. I was playing with everything. I loved to do stage sets by cutting a piece of board and making a cut in three sides, flipping it down, making the stage.
I wanted to be a stage actress. I wanted to be a New York actress and have a community with other actors. I didn't want to get famous; I always thought getting famous was a drag on you.
I'm like everyone else, on the stage it's good. Not too much fun in the hotel or the airplane or the bus, but you got to do it.
Taking drugs on a recreation level is one thing. But taking them while you're working on a stage is, I don't think it was that great. It's the control factor. And the thing about being on stage, you really want to feel that you're sort of in control a lot. It's not a place where you want to be out of control.
The worst years of my life were the first two years I was doing standup. You're learning how to do, and you're going on stage in front of two drunks and people aren't laughing and you're broke. That's a really hard time in your life.
Sometimes I'm dragging my ass out to the airport at 8 a.m. on a Saturday and I'm wondering why I'm doing this, but once I walk on stage I know why...because I'm addicted.
If the oncoming mutation to interstellar immortality is screwed up by the politicians, it will be because those of us who see the opportunities in modern science are not adroit enough to outmaneuver the forces of inertia, stupidity and greed. Well, if we're not intelligent enough to overcome such obstacles, then we don't deserve to carry off the mutation at this stage of evolution.
In my Comedy Club sets, I just work on what is fresh and try to build that show as long as I can. I don't like to do burnt material on stage. Even though my crowd loves to hear me do old stuff, I don't like to do old stuff.
I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?
Working on stage is really a great voice developer.
Stage is really hard work. You've got to do it every night. Not like doing it once and walking away.
Now any person who plays an acoustic guitar standing up on stage with a microphone is a folk singer. Some grandmother with a baby in her arms singing a 500-year-old song, well, she's not a folk singer, she's not on stage with a guitar and a microphone. No, she's just an old grandmother singing an old song. The term "folk singer" has gotten warped.
We [Paramore] are very different people at home, but the people that we are on-stage is just a side of us that our crowd and the audience that comes to our shows brings out of us. Different people bring different sides out of each other, and for sure our fans bring out the most hyper and ridiculous side of us because we get so psyched to see everyone when we're on stage.
Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.
Acting has been my passion from the minute I started. I was pretty young when I wanted to be a doctor, but when I started doing theater work as a freshman in high school, the first time I hit the stage I was like, If I can do this every day, life won't get any better!
I lose myself in my performances so I wouldn't say that I ever act on stage. I don't find it to be an acting drill for me. I just find it to be something very real that comes from a very gut-driven, honest place.
If two people are at completely different stages in their spiritual life, that can present a real problem.
In the opening stage of most careers any attention is what you want, any attention is good attention, even if it's bad attention.
I just get excited doing shows. Off stage I am actually very feeble and must be spoon-fed because my hands are too brittle.
If you put on a lousy production with white actors, it's lousy. There is a problem, or can be, at this stage of our social evolution, with mixing the casts. It may not be a question of race so much as class. You would rarely find a black man in a high executive position where he was swinging his weight around.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
If I have to write by a certain time, I can pull through, but usually I just let stuff happen, hanging out with comic friends - or bringing a basic idea on stage and seeing if it goes anywhere.
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