I have awards right now that I do not remember walking on stage to get.
I love the stage. It's terrifying in a way that film and television is not. When you're about to go out, and you're adrenaline just gets out of control, and that can be really daunting.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.
With rap, you go in the studio, you make music, you put the music out, then all of a sudden, you're a star: you have a big record on the radio, and you're on stage, and you've never done it before. Let's say your first show is 'Summer Jam,' and you're in front of 60,000 people, and you've never played an arena, ever. You're gonna suck.
We put too much on contemporary dancers. A lot of them cannot change styles; a lot of them can't do anything else other than run around the stage reaching and stretching in anguish to somebody off camera that I never understand who it is. But it's the teenage angst they have to live with.
My uncle was a preacher, and I used to go watch him preach. He was also funny, so I'm very 'preacher-ish' on stage, not by intent but because that's where I learned to talk in front of people.
I'd love to get into some comedy, but people keep saying, 'You're not funny!' And I say, 'Well, fair enough.' I have done comedy on stage.
We can listen in to a call while it is still at the ringing stage and within a fraction of a second know everything about the user. Then we can listen in to the call.
It took me years to actually get comfortable on the stage. I prefer the intimacy of screen; it comes easier to me. In theater, you have to be louder and bigger - that was harder for many years in my teens. But now I've conquered that. I eat up the stage. I love it.
The best thrill is standing on stage and playing - other than being married to my wife.
It's really exciting to be able to represent the cruiserweights and go to Monday Night Raw. I grew up watching Monday Night Raw, and it's really a big dream of mine to perform on that stage.
I've seen some beyond-amazing performers do karaoke who should be on stage somewhere, and I've seen people who you rather didn't enter the bar. That's the beautiful thing about it; it's for everybody.
I don't need to be liked, but I need to be vital - on set or on stage - and I think that probably would be my advice: Stay vital. It's about saying 'no' and asking the tough questions and believing in yourself when no one else will, but you have to know the rules to break them.
As long as there are dancers around who love to dance, there will be an Alvin Ailey American Dance Company. We miss him so much, but he's alive as soon as you see a dancer hit the stage.
I love every time that I get to be on a stage with Halsey. She's so incredible.
I don't have the ability to be a diva. I can't flaunt. I don't have that kind of stage presence. I think of myself as just a band member.
I get the same rush being on stage DJing that I did on the court.
Orson Welles's second 'I-did-it' should show once and for all that film making, radio and the stage are three different guys better kept separated. 'The Magnificent Ambersons' is one of those versions of the richest family in town during the good old days.
Theater is about surprises and things that you haven't seen before on stage.
I prefer film to the stage. I always like the rehearsal better than I like performing.
The best shows I play, I almost don't even remember off the stage.
Anything back in New Orleans is definitely nostalgic. I really played my first shows of my life and learned to perform here. I learned how to work a stage and how to connect with a crowd. It all started here.
Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left, and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me.
I think, as an actor, it is good to feel the fear of failing miserably. I think you should take that risk. Fear is a necessary ingredient in everything I do. But if I do 'Hamlet,' it will probably be in a small theater on a small stage, and it will have to be very, very soon because I'm getting a little long in the tooth for it.
I can't believe Tina Turner actually was on the same stage. I can't believe I set foot on the same stage, and it's going to be an album, people are going to buy it, and it's going to be a video.
Film sets are a strange place, but an exciting place. I do love my work; I really enjoy going to work. But if you just spend all your time on film sets or even on stage, you can become a Michael Jackson figure, living in your own little universe.
Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less.
My sisters used to learn dance, and I used to stand behind them and dance. So my guruji suggested that I also learn, as I seemed interested. I started learning at the age of three and was always on stage for something or the other. My mother is proud of me, and clearly my artistic bent comes from her.
Nothing feels worse than having to break the stage down before the performance, and I mean nothing.
If I produce it, I will stage it as a performance. A small audience will be invited; rehearsals of the sections will be done in the mornings, and those sections will be recorded in the afternoons.
Tell a man that he is putting on a stage performance in order to get what he wants, and he will irritably reject your observation. Why? Because most people go through life as cunning actors with a permanent horror of getting found out.
Music for me is not just being on a stage and singing. It's my coping mechanism.
I'm actually sometimes nervous right before a performance, but as soon as I'm on the stage I'm like, 'okay, we're gonna rock this baby.'
The music and everything we're doing on the stage and on television backs itself up. If that's what gets people's curiosity going or brings their attention to us, that's fine.
With the phase-contrast method still in the first somewhat primitive stage, I went in 1932 to the Zeiss Works in Jena to demonstrate. It was not received with such enthusiasm as I had expected.
