I am blessed to have worked in big-budget films at an early stage of my career.
I wanted to be famous for my music and my talent, and I always wished I could cut it out when I left the stage.
I think that at 21, I still look like I'm 17 years old, so I feel like I'm going to be playing teenagers for a while, and that's a very relatable stage in a teenage life for a female - that kind of rambunctious stage.
Being on stage a lot is quite physical.
I always wanted to know, and I always used to daydream, about what it would be like to stand on a really big stage and sing songs for a lot of people, songs that I had written... Daydreaming was kind of my No. 1 thing when I was little, because I didn't have much of a social life going on.
I started on television. I had five years of network television before I ever got up on a stage. The first thing I ever did was in 1967. This guy Bill Keene had a little talk show at noon, and Gary Owens took over for a week. He knew about this dummy bit I used to do, this ventriloquist thing, and I was on 'Keene at Noon.'
Before I even knew what that half of my family did, I was interested in performing. I remember being seven years old and up on a stage and loving it. I've always adored it. Not just acting, but the whole process of writing and directing movies, everything that has to do with that part of life. Maybe it's in my blood.
I love film, but I feeling a bit needy about returning to the stage.
People always tell me the next stage of my career means moving to New York, but I never will. I don't care how that affects my career, and I think it's stupid that it would.
People like the shows I do. I want to be real, to have fun, even when I dance on stage... it's a buzz.
As an actor and as a performer, I've felt that the education system has really helped me in a lot of ways... there was always a teacher or a professor along the way that kept pushing me to the next stage.
I'm quite surprised at how out of control I can be on stage because, actually, I find I like to be in control in life. It's quite freeing, really.
I would like to be able to be both a film actor and a stage actor - to be an American actor in the style of a lot the English actors who do films. They are these wonderful actors who can do everything.
'The Yes Album,' of course, was the album that put Yes' name on the worldwide stage.
I always think that period between the ages of 18 and 24 is such a bizarre stage, and the two people at either end are always very different.
Perhaps not as badly applied and not as obvious, but for thousands of years, people have worn makeup on stage.
I was creator and executive producer of 'The Brady Bunch' on TV. The stage version was done by others, but it was a repeat of the old scripts. The 'Gilligan' musical is a completely original work with all seven characters and 18 original songs.
I was trained on stage at NYU in New York City; I did a lot of theatre then.
I enjoy being a singles guy. I enjoy commanding the stage with myself and an opponent. It's a different process when you're teammates. Especially with the way we work. We're very unselfish with how we work together in so many different regards. Not just what you see as the final product of the match. Just strategizing, psychology, teamwork.
Once in awhile, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often.
If they can look past the fact that I happen to wear mascara on stage - which, by the way, is a ridiculous thing that people have a stigma about - then we promise a good rock show.
There were about 30 children at one stage, running around like savages at a place called Callow Hill, near Monmouth, which was owned by my grandparents. They lived in the big house, but my dad had five brothers and a sister, and they all lived in various houses scattered on the hill.
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
I can totally identify with the younger kids. I'll never do what Jon Spencer did to me when I was 16, though. I made a tape with my friends and I put it onstage right near his mic stand by the pedal board and he pulled it out with his foot, kicked it to the center of the stage, looked me in the eye and stomped it to pieces.
What I do, basically, is look at things from different angles. That is what I do on stage comedically, and that is what I do in art. I was always fascinated by the structure of things, why things work this way and not that way. So I like to see how things behave if you change the point of view.
People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
My generation, faced as it grew with a choice between religious belief and existential despair, chose marijuana. Now we are in our Cabernet stage.
It's weird because standup can be like therapy. Comedians can't be satisfied with just having fun with our friends. We've got to figure out a way to do it on stage.
I majored in theater, so I'd love to get back on a stage.
A lot of the time when people get married in the infatuation, it will go down. That is inevitable. The infatuation stage will not last forever.
When I walked up on stage at the Emmys, and when people stood up, it was a really sort of emotional, overwhelming moment. It was like I had been accepted.
I will not ever say that it's good to start with too little preparation, because that's patently not true. But I don't rehearse the way a lot of directors do, to stage a scene in terms of manners and attitudes and lock them in.
The audience will make you feel like a demigod. But when you leave the stage, get back to being human.
Music is my heart, but I see television and more movies in the next stage of my life.
I'm most at home on the stage.
Television is a different challenge; it is not a stage. But each opportunity that I have to learn I learn, and I take the opportunity to work.
