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There's something distinct and interesting about a live performance. There's this weird immediacy that's, for me, really invigorating, and it just feels really rewarding.
Every time I see a live performance of something, I'm like, 'I want to be doing that!'
I think people need to see Prince live to really understand how remarkable he is.
I do an improv show on Sunday where we have a class, and then afterwards we go and do a live performance in front of an audience.
We gave up on the idea of trying to make the record a good representation of the live performance.
I think all players reach a point in their career where it's natural to lose some of that hunger, that desire, to sort of break out or be a star.
For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.
The live performance aspect of shooting a multicamera sitcom is wonderful. You have that instant audience reaction.
My form is more on the lines of a Chinese porcelain-jar juggler. They learn it as a child. They learn, learn, learn, learn - but not with a porcelain jar. Then, when they're ready to perform, they're taken to a museum, and they're given a porcelain jar for a lifetime to use. When they're done, it's returned to the museum.