Performance Continuity Quotes

Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.

You have to stay in character in between takes.

As long as I'm still able to have a hit on the radio and sell a few albums and some tickets, I don't see that it would be worth retiring.

It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.

Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.

You don't stop when a musical number comes up and do the number and then take up the scene where you left off. It all moves forward. Your work as an actor was part of your work as a dancer as well. It was dialogue through movement.

You put your blood, sweat, and tears into an album and you think that's where it ends, but no - when you go on tour you're still carrying the life of that album and the life of those songs until you put your next project out.

At this point in my career, 'Scream' is one of the longest running stories I've told. It's fascinating to still have actors who are very much into continuing their roles and have great chemistry.

I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.

After I changed the string we picked up right where we left off - and punched back in at the same time. I don't know if this has ever been done before. The engineer sort of looked at us weird, but we got it on the first take.

I want to keep a thread between the studio and the stage, and I want to flow more easily from one to the other.

You need an actor who can maintain a character over a long period of time. If you have a weak actor, it won't be obvious in two hours, but you'll begin to see his weaknesses over four or five days.

When you're doing a play, you're onstage, there's no stopping or starting, there's no stopping to reposition for the camera or have a check done. You're there 'till the end of the show. What that gives you is a great gift, which is to command the audience, and you get to play with your script and your fellow actors. Every night, it's different. Hopefully it goes well and you get a great response. But the technique that you have to have on film or television is so delicate. It's fine-tuning. That is very different from being onstage, but they both have important skill sets.