I'm a sports junkie, and I am interested in athletic will - how you exceed the expectations of your own performance when it counts to deliver something beyond yourself so that you can win.
I always knew I wanted to be a performance artist.
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
There's got to be a backbone, there's got to be a skeleton to the whole way I perform, but you never want to hit the same note twice during a performance, I think. I think it's always got to be fresh so it doesn't bore me, and I always want to go out on edge.
And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.
When you are interviewing someone, never let your camera person turn off the camera. The second you turn off the camera, they'll say the magic thing that you'd been looking for the whole interview. People want to relax after the performance is done. Don't be afraid of awkward silence. That is your friend.
It is not a dreamlike state, but the somehow insulated state, that a great musician achieves in a great performance. He's aware of where he is and what he's doing, but his mind is on the playing of the instrument with an internal sense of rightness.
I wouldn't do nudity in films. For me, personally... To act with my clothes on is a performance; to act with my clothes off is a documentary.
Most of my ideas are based on the latest research on productivity, performance and mental mastery - that's why so many iconic companies bring me in to help them grow and win.
I just like surprising people. I never want to get to a place where people see that I am in a movie and they go see the movie and they expect a certain performance one way or the other. That is just inherently boring to me.
The world is crawling with authors touring now. They're like performance artists.
I come from a much freer kind of performance thing, where I rely on my own improv and my own sense of humor.
You can't, or you shouldn't, be nominated for an Oscar unless you've turned in a performance that's special.
Then certainly for a musician timing becomes something that is immediately accessible as a concept, because it's a necessity in ones everyday performance.
If I do a poetry reading I want people to walk out and say they feel better for having been there - not because you've done a comedy performance but because you're talking about your father dying or having young children, things that touch your soul.
I record cello Etudes that are fewer than four minutes long and post them on YouTube. How can one execute fully-formed ideas with utmost perfection, yet stay free enough to allow improvisatory nuance? This has immediate application in almost every area of life, but especially in performance.
Some books claim I have already clocked up a century of Grands Prix, but let me put the record straight. Australia will be my 100th start, and I aim to mark the milestone with a cracking performance. It could even be celebrated with a victory.
I was always the kid in school who tried to get attention, not necessarily the class clown, but I'd do little unexpected performances.
The life of any musician really doesn't fall into a normal schedule at all. Every week there are different rehearsals, different days and nights of performances, so we don't have a particular pattern that we can follow. For a conductor, it is a little bit worse because we have to allow for traveling.
In the movies, I loved Errol Flynn whether he was playing a soldier or a pirate. I dug pirates. In fact, my first exposure to live performances was when my paternal grandfather took me to a D'Oyly Carte performance of 'The Pirates of Penzance' which impresario Sol Hurok imported from London. I loved every minute of it.
For me rappers and dancers are poets and artists and often times the most interesting performances are given by them.
The whole kiss-and-tell thing is a negative approach that often happens in a World Cup. We will see negative stories about the players and it can affect their confidence and the overall performance of the national team on the pitch, let alone the bid to actually stage the competition.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
I started off in a small theatre performance company and worked my way into commercials.
It was important to have a similar energy in my performance. To make the character too different would have just been about my ego because it didn't need to be drastically different.
I consider that my best performance ever was as Peer Gynt.
An announcer is only as good as yesterday's performance.
My performances have finally caught up with my ego.
Negative feedback effected amplifier performance significantly.
It is quite true, as some poets said, that the God who created man must have had a sinister sense of humor, creating him a reasonable being, yet forcing him to take this ridiculous posture, and driving him with blind craving for this ridiculous performance.
Be honest about how you approach failure. Don't just be critical of yourself, because that can be self-serving. Approach it honestly, assess your performance, and assess the areas where you have fallen short. Correct them and move on. Don't dwell on it. Don't hold on to it.
Our deals and performance speak for themselves. And whoever doesn't feel comfortable investing with us will not.
What we've seen this season is that if something that will enhance performance is available, some players will indulge... unless the penalty is an absolute deterrent.
We all have levels of performance.
I love fashion. I like dressing how I feel, and my music shows how I feel - they go hand in hand. My performance style is pretty much the same as my everyday style.
I don't think that the status of a show, big or small, should affect a person's performance.
