A Quote by Michael Gira
I don't throw my body down on the stage at all anymore because I'm sure I'd snap like a twig.
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I was very skinny. You know when your knees don't even look like they're attached to your body? Kids at school called me 'Snap,' like my legs were about to snap because they were so thin.
'Man Down''s my absolute priority. If they give me another series, I'll throw everything into it because I really like the characters. But after that, I'll certainly be getting back on stage because I haven't done a proper gig for two years. Which is ridiculous for someone who loves it so much.
I always said, 'Whenever I get pregnant, I'm going to embrace all of the body changes that happen.' My focus has not been on any sort of snap-back or anything like that, because your body won't be the same after giving birth, and if anything, that's something to be celebrated, embraced, and owned.
I like to summarize what I regard as the pedestal-smashing messages of Darwin's revolution in the following statement, which might be chanted several times a day, like a Hare Krishna mantra, to encourage penetration into the soul: Humans are not the end result of predictable evolutionary progress, but rather a fortuitous cosmic afterthought, a tiny little twig on the enormously arborescent bush of life, which, if replanted from seed, would almost surely not grow this twig again, or perhaps any twig with any property that we would care to call consciousness.
If you want to do a movie about aliens coming down to Earth nowadays, you need to do it with a smile. When Tim Burton did Mars Attacks, he tried to make it a little bit kitschy, because it's not scary for people anymore. It's not scary that birds will attack you anymore, but I'm sure it was when Alfred Hitchcock made it. And it still is when you watch it.
You would be amazed how many important outs you can get by working the count down to where the hitter is sure you're going to throw to his weakness, and then throw to his power instead.
If we could only snap the fetters of the body that bind the feet of the soul, we shall experience a great joy. Then we shall not be miserable because of the body's sufferings. We shall become free.
It's better to throw a theoretically poorer pitch whole-heartedly, than to throw the so-called right pitch with feeling of doubt-doubt that's it's right, or doubt that you can make it behave well at that moment. You've got to feel sure you're doing the right thing-sure that you want to throw the pitch you're going to throw.
Here I am not the one to throw out. No one steals my warmth and shoes because I am small. No one handles my backside. No one whinnies like sheep or goat because I drop in fear and weakness. No one screams at the sight of me. No one watches my body for how it is unseemly. With you my body is pleasure is safe is belonging. I can never not have you have me.
My body can't put anyone in jeopardy of not making money anymore - my body is just not on the table that way anymore.
You can tell on-stage when a joke's starting to lose its pop. It doesn't mean people don't want to hear it anymore; it means I don't want to do it anymore. Because I want to move on to something that has a knee-jerk reaction just like you get when you tell somebody a joke that they've never heard.
Some people think a series like 'Mayberry' is a snap, but nothing in this world is a snap, unless you want it to be.
You should make an effort on stage because it's a performance. The stage should be glittery and camp, but I don't go down the shops in full stage gear.
I have a rule: before I can throw anything out, I have to write down five possible uses for it. This stretches my mind and keeps it nimble - just like stretching exercises do for my body.
A joke is like building a mousetrap from scratch. You have to work pretty hard to make the thing snap when it is supposed to snap.
What I do on stage, you won't catch me doing off stage. I mean, I think deep down I'm still kind of, like, timid and modest about a lot of things. But on stage, I release all that; I let it
go.
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