Back in the days, we had to work with a shoestring budget. We had a movie screen, and we'd show movie trailers on them, and then we'd rip through it and started playing. Now we have a little money to play with to do a cool stage set.
It's quite different, the kind of love you get in a smaller club and the kind of love you get on a big proscenium stage. It's quite different. I like both of them, but I'm in love with the smaller, intimate club.
It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
There's a feeling of elation that comes after getting off stage and then there's a feeling of utter sadness that comes after getting off the stage.
There are certain ways of being that people don't find acceptable or very pleasant in regular life, but you go out on stage and do pretty much the same thing and they find it spellbinding.
Film and stage are very different; I don't necessarily prefer one over the other. Every few years, I get a big itch to go back to the theater. To learn humility, to learn bravery and to remind yourself that the pistons that drive your craft are working on full power. And to remind yourself how badly paid actors can be.
You go to drama school, and the people you revere and admire are those who work on the London stage, and you hope that's a world that you'll be able to break into and do enough occasional television and small film work to eventually get to the point where you're paying the bills.
When a man has emerged from slavery, there must be some stage in the progress of his elevation when he takes the rank of mere citizen and ceases to be the special favorite of the laws.
I put my life in danger every time I do some of these demonstrations, whether it's in the audience hanging upside down or on the stage. We now have a lot of dangerous stunts where anything can go wrong. In fact, I have fallen two stories and landed on the stage, so I am well aware of the dangers.
Danny Elfman, the composer, tells me the only time he thinks I'm happy is when I'm on the scoring stage, and I see the pressure's on him and it's a little off me.
My style is definitely schizophrenic; it does change from day to day a lot. It depends on my mood: sometimes I'll be going through a girly, childlike stage and wear a pretty lace dress with a bow in my hair. Then sometimes I'll be moody and just wear black.
I wasn't properly performing in Canada. I was just starting out, and when everyone starts out, they're terrible. I'm sure there are some Kellyanne Conway videos of me just really dying on a stage.
Regarding green screen, green screen is really like doing some stage work. You have to make believe that there is a window, make believe that something is there that is really not there and convince the audience. It's part of acting.
I think I might want to get into development, as in developing my own sort of piece, whether it be for the stage or the big screen or for television.
I'm more old school: I want to be like Keith Richards on stage. It's not interesting to see straight-from-runway clothes slapped on an artist. It's more interesting when you see people who have their own style.
1971-79 was when I shared the stage with my father. We did more than 500 plays together. He was a hard worker, and learning from him was more than a delight. The way he faced challenges and political pressure was a treat to watch.
I think in your home, you should only use colors that you look good in. It's a little self-serving but think if it as you're on a stage. Not with any pressure, but you want to showcase yourself.
I have never experienced anything like walking out onto the stage of an oversold venue and, before the first note is struck, realizing that there is not going to be enough oxygen for all of us.
When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.
The chemistry that you get from living with your band and creating music and recording with your band translates to the stage.
When people come into the theater, whether it's the screen or the stage, they've gotta be transported and transformed.
Classroom singing is common in India, but no one gives you marks for that. My idea is to introduce music and singing as full-fledged subject so that talent can be polished at an early stage. Also, it will help alleviate stage fear.
One time, I came off stage and a guy named Roman Decare, God rest his soul, he was a comic. 'Louie, if you do that family stuff, and you're a clean comic on stage, you'll become famous.' And, for some reason, a switch clicked, and I started doing the family stuff, and it became a giant part of my life.
There's some anxiety the 30 minutes before the show starts. But once you step on stage and face the people, everything goes away, and you have fun and enjoy the audience.
I definitely enjoy the kind of magic that happens being on stage with a group when everything's working. The vibe when that's happening gets even better if the audience is involved and you can feel that interaction. That's something you don't get with your headphones on in a studio; it's much different.
There's nothing more romantic after not seeing your husband for four months than to have our first night back together, on a Broadway stage, with 12 million people watching.
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
It's always a thrill to walk through a Broadway stage door.
I was about 14 when I started with a theater group; it was like a stage group on the weekends alongside school. And it was run by a group of guys who'd been to drama school themselves in London. So they introduced us to techniques that they'd learn about, and they kind of informed us about improvisation and screenwriting and all of that stuff.
I've got to be comfortable when I'm on stage.
It wasn't so much that I was all alone on stage, but it was the realization of how much you need the response-you need the audience to tell you where to go.
You play with the audience, and they play back with you. They get into it, and then everybody gets into it. I don't want to be like a monkey on stage and just go through the motions because then it wouldn't be fun anymore. I just pay attention to the audience and appreciate the fact that somebody wants to see us. That gets me psyched.
Modelling was not very satisfying for me. I came to London to model, and I fell in love with the theatre. I was eating yoghurt every day so that I had the money to go to the theatre. I saw everything. It's still my dream to be on stage in London.
Foucault's genius is to go down to the little dramas, dress them in facts hardly anyone else has noticed, and turn these stage settings into clues to a hitherto un-thought series of confrontations out of which, he contends, the orderly structure of society is composed.
I know when I am on stage and I'm kind of on the right track - hopefully most of the time. But a lot of time I'm not.
What a person feels within themselves and about themselves radiates from them. Trust me, I have worked with people - both men and women - who are not what most would consider conventionally attractive, but who exude such a magnetism about them that people are compelled to watch them on stage or screen.
