'Billy on the Street' is a persona. It's crafted; it has writers. It's a mixture of performance art and comedy.
I think of myself as a performance artist. I hate being called a pop star. I hate that.
Children, I always think, are just putting on a performance of being naive and not understanding anything. I have worked with children in films, and they're treated as adults and they just drop the pretense of being children.
I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.
In Australia, I almost became a counsellor. At the end of each performance there would be a queue of sobbing people backstage. They all wanted to explain why they left South Africa.
Claude Rains was what we call an actor's actor. He was very involved with himself and his performance.
In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
I think some people ramp a side of themselves up for performance purposes.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
The real secret of magic lies in the performance.
I think all of our concerts, really, as parties. It's a performance for sure. It's not a recital. It's a celebration of that music.
I do pay performance royalties on others' songs I perform live, but I'm not recording these songs and putting them up for sale.
I'm a performance artist first; I'm a recording artist second.
I'd also like to do a play. I've never done theater, and constantly changing and refining a performance is something I'd like to do, even though it may sound like work to some people - and it probably is work.
You can't plan everything - if I did a performance exactly how I rehearsed it, it would be so boring.
At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.
Be able to resign. It will improve your value to the President and do wonders for your performance.
Restoration I did because I really loved e novel and I like Michael Hoffman, who directed it, but it wasn't a really challenging part for me. I'm not critical of the film: I just don't think I gave a very interesting performance.
Reviewers are entitled to say if they liked the screenplay, performance, and execution of a film or not. But when they say things like the film doesn't cater to a certain audience, it leaves people wondering if they should watch it.
I don't care what reviewers think. If somebody hates a performance of mine, I kind of get a kick out of it. It amuses me when critics take something so irrelevant as a movie so seriously.
