Donnie Yen Quotes

What I want to give in the theatre is beauty, that's what I want to give.

I think, as an actress, it is amazing to shock your audiences.

I love to entertain, I love to make people laugh, cry, and move them, perhaps moving them in their lives.

Red is one of the strongest colors, it's blood, it has a power with the eye. That's why traffic lights are red I guess, and stop signs as well... In fact I use red in all of my paintings.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.

When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'

For me, art has to have two things to really blow me away: a strong concept and drama.

The life of a play begins and ends in the moment of performance. This is where author, actors, and directors express all they have to say. If the event has a future, this can only lie in the memories of those who were present and who retained a trace in their hearts.

People have cried at a couple of shows. To think that someone could do that for me... Jesus Christ. That's a crazy sign.

I don't want people to look back at my matches and say, 'When you did that move, it was good, and I liked it because it was cool.' I want people to sort of remember a rush of images and the emotion that they felt when they saw it. That's when I think you have a real masterpiece in your hands.

I discovered that my drag really does speak to people on an emotional level. I also discovered that people are sometimes put off by an intellectual approach to drag.

The music is the emotional substance of the show; the book just sets it up. Nobody goes to a musical to hear the book. That's the way it works.

I'm just focused on getting to the end of each show and feeling like we've done a good job when we walk off stage. And a perfect show isn't necessarily about making the audience feel good. I know I've done my job well if I've made people feel... interesting. I like to leave them a little stunned.

Whenever you do big stuff in the ring - a big move or a big hit - you have to let that moment breathe. That allows a moment to sink in for the fans so they can reflect on it.

Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.

A man who strains himself on the stage is bound, if he is any good, to strain all the people sitting in the stalls.

I want the poem to be an experience - for both the listener and for myself.

Projection of sound gives the stage a life different from real life. As actors and interpretive artists, we must not only be able to know the attitude of the script, we must also make ourselves heard - without amplification.

Within a safe environment, the theater, you can have a big ride, big ups and downs, intensity, warmth, humanity, laughs, tears - you want that full range of emotion.

People like to be moved, that's why they're here listening to you instead of sitting at home with the Shipping Forecast.

Every time I perform, I always try to have that 'wow' factor.

Slow motion goes one of two ways. It either makes it look really, really cool, or it makes it look really, really bad.

I personally think montages are one of movies' great gifts to everyone. I think they're so much fun and so effective when done right.

I want to entertain, but I'm interested in a whole range of feelings.

Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.