Quotes of All Topics . Occasions . Authors
All of them - my father, mother, step-mother, and grandmother - were all wonderful actors and performers and they are an inspiration to me, both in their craft and in their humanity.
I loved all the wrestling going on in the ring - I wouldn't be into it as much if I didn't care about that - but I always had an infatuation with the performers and the entertainers.
Ibushi isn't going anywhere. He's staying with me, and I support his success 100%. But we will continue our success as the Golden Lovers, both as a tag team and as single performers.
I think what actors have to do, what performers have to do to emotionally get to that place and have a camera and have your face 20 feet high on a screen, is such an incredible thing.
Whitney Houston and Ella Fitzgerald are my musical mothers. I learned everything I know about true R&B, pop and jazz singing from these stunning performers and unparalleled musicians.
There's still a lot of great songwriters out there who hand in songs. And there's a lot of brilliant singers and performers out there who sing other people's words. I enjoy doing both.
I learned a lot from Elvis. He never took his image seriously. So many performers today put their image before themselves. It can ruin them. Like Elvis, I never took my image seriously.
Some of the most powerful female performers I've seen balance the feminine and the masculine and are incredibly strong. Like, I think Hayley Williams is one of the best rock performers.
I've been involved in the deaf community for years, and my friends in the community that are actors or performers get very frustrated when they see hearing people portraying a deaf role.
A lot of performers don't want to leave the circuit, the European opera house circuit, partly because most singers don't sing many concerts, or at least not while they are in their prime.
The people who were learning from me tended to be more commercial performers who were gonna rip off the salient idea to do it in a way that will sell, but they weren't going for the music.
I came back to New York after college like any number of struggling performers, and you just find that niche where you can have some sort of impact. And for me that turned out to be comedy.
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
I thought that maybe it is not so much, as he seems to think, that the world loses interest in female performers after they hit a certain age, than the performers lose interest in the world.
I always go in with the feeling that I'm gonna have a good time in what I'm doing. I entertain myself when I perform. If I do that, then I can see the other performers enjoying my character.
Obviously when I came I wanted to live in Paris. I wanted to work or... if that didn't work out... perhaps go away with a troupe of traveling performers - you must remember I was very young.
I discovered early on that some performers live their life in order to act, so all their relationships are simply an experience that they can feed back into their work. Which I find vampiric.
Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.
One of the reasons why 'Here's The Thing', Alec Baldwin's series of podcasts with 'artists, policymakers and performers', is so good is because he's a big name, so the guests have to deliver.
Well, being from Mississippi, the church house is kind of the common denominator. It was for me growing up. Like so many public performers, that was the first place I was ever invited to sing.
I'm slightly obsessed with drag queens and performers. Their quips and their one-liners, their style, their singing... I find it fascinating. And thoroughly entertaining. I'd love to play one.
I love that drag is political. For me, one of the reasons I started doing drag was reading about how in the past, drag performers were able to organize the queer community and move us forward.
The biggest trap that all performers and writers find is that when something really crazy, really bad happens, your mind immediately goes to, 'Can I write about this?' - which is good and bad.
My father was the proprietor of a music shop on Forty-third Street, where many of the finest performers and musicians of the day would come to shop. He knew the classical repertoire inside out.
There are some strong female performers out there. But the industry's pre-occupation with the packaging of how a woman looks has gone completely the other way, back to almost the 60s, early 70s.
I feel like it's important, especially at young age, to find exactly what it is that makes your style so important as opposed to just trying to fit into the iconic styles of performers out there.
For me specifically, after travelling around the world I noticed that performers who had web shows had huge international popularity and that segued into a lot of events reaching out to book them.
I feel that the work that I have done in the comedy arena, is priceless in terms of what I learned, timing, everything that these incredibly talented performers were generous enough in teaching me.
It bothers me when people say, 'Oh, you're so down to earth - for an actor.' Even when they don't say 'for an actor,' I feel like that's the implication. Why are the standards so low for performers?
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 wanted to break the idea of what male performers are supposed to show, what performances girl groups are supposed to show. I really wanted to break those labels, showing that dance is a form of art.
People who aren't complicated in real life come through as pretty bland on the screen. Most great performers are not very happy and well adjusted. Perhaps that's the price they pay for being originals.
I think, describing Elvis for me would be a very generous king. He was the king of rock and roll, will always be. He's whats made it possible for everyone to be performers and to do the things they do now.
I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.
A 90-minute time frame is not long enough to tell a good female story, and that's why long-format television has become so great for female storytelling and for female performers and directors and writers.
What you learn from working with other performers and musicians is invaluable, really, and can only help you grow. I mean, if you spend your whole life focusing on yourself, you're not really learning much.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
It's never like we're up there being miserable at work, that's not something that happens for us. We love our work. So, when the performer loves what they're doing, it's easy for us to love what we're doing.
Star performers are my favorite to manage and lead. Star performers are critical to any organization, and the key is how can you capture their heart-share and their mind-share when they're on this fast track.
I was looking at making a shift in my career. I've been so blessed I'd like to be able to give that back. If I could find young artists, young performers I can nurture to have a career I would really like that.
In terms of stage presence for me, I'm influenced by a myriad of things. A lot of punk performers, people like Dave Vanian from The Damned and Davey Havok from AFI was a huge influence on me when I was younger.
I think that all the talented filmmakers sort of share, I think, a sense of allowing magic to happen; of creating a stable and secure environment for performers to feel they can push to the end of their ability.
The mind starts to do things that you didn't even realize it could do. I suppose it's the manipulation. I suppose it's the sense of power, the center of attention, and the me-ism. And performers have to have that.
My work is very popular with performers, and there are theatre people who get what I'm doing and what tradition I'm working in. I'm very grateful to them - they're my people, who understand why I work the way I do.
I'm separated by other performers with whom I might be lumped, since what I say is so intensely personal. I'm anti-art and anti-poetry. As much as possible, I want to inflict my personal pain on the rest of society.
I actually think I suck. I think I'm one of the worst announcers, one of the worst performers there is. It blows my mind that I keep getting hired. But when I'm doing it, yeah, I'll admit: No one can do it like I can.
Most performers reinvent themselves. Madonna, Michael Jackson, P. Diddy. They reinvent themselves into different kinds of images. Elvis Presley was always himself, an original, and he never tried to be anything but that.
I think I would like to see more roles for South Asian performers that are more inclusive and part of the American Diaspora, the American tapestry, perhaps the way that African American and Hispanic roles have developed.
The cast you are working with is important because it involves a give-and-take relationship. For me, when you have strong performers, multiple things happen, the magic of creation happens. That's where you build the craft.
One of the great things about shooting in Los Angeles is you have access to all these great performers. We love working with ensembles, and that process of getting a great group of people together and setting them in motion.