A Quote by Steve Marriott

I reached the stage where I was afraid to wiggle my leg, but then I thought 'why shouldn't I?' It's what I do and now I know how to turn an audience on again. — © Steve Marriott
I reached the stage where I was afraid to wiggle my leg, but then I thought 'why shouldn't I?' It's what I do and now I know how to turn an audience on again.
Somebody has to be on stage, and some people have to be in the audience. That's the only difference. Don't put any thought as to why you are on the stage or how you need to be 'better' than the people in the audience. You aren't better. You're simply the speaker.
I wiggle my shoulders, I shake my legs, I walk up and down the stage, I hop around on one foot. But I never bump and grind. Why, that's vulgar. I'd never do anything vulgar before an audience. My mother would never allow it.
I remember doing a lot of comedy. I always loved that feeling when you do something on stage and you can feel the vibe of the audience turn, and they start laughing. It's how you know something's not right, and how to fix it, or how to make the moment stronger or funnier.
Then you will pick yourself up, no matter how tired you are, and go forward again and again and again, until you've reached liberation.
There are bits at the table read that destroy, so much so that we can't wait to do it in taping. And then, no reaction. And then there are times when I can't get the right read on a line in rehearsal, and then the audience howls at it. The strange thing is I still don't know why it happens like that. It's not like afterwards I think, 'Now I know why that worked!'
I had to teach myself how to walk again. It was crazy. I couldn't even make a muscle in my leg. I felt like no muscles in my leg. I was already skinny. It was like my leg was dead.
In group lesson number six I think we learned how to turn backwards and then just kind of wiggle. That wasn't really skating backward, but I guess I was going in the right direction.
In the past, there's reasons why 'The Goon' wasn't made; it's because people were afraid of edgy animation. Now, I think that 'Deadpool' has proved that that audience is out there in a bigger way than some people thought.
I can feel how an audience is reacting when I'm on a stage, but when you are on stage, your perception is distorted. That's something you just have to know. It's like pilots that fly at high Gs and they lose, sometimes, consciousness and hand/eye coordination and they just have to know that that's going to happen. They have to be trained to not try to do too much while they are doing that. So when you are on stage, you have to be aware that you are wrong about how it feels a lot of times.
When I broke my leg, I never thought I'd ever be skating again let alone be standing on a world podium. I had to relearn how to skate, relearn how to even stand on one foot again. I had to relearn all my technique.
Why do we cling to life and why are we afraid of death? You may not have thought about it. The reason why we cling so much to life and why we are afraid of death is just inconceivable. We cling to life so much because we do not know how to live. We cling to life so much because really we are not alive. And time is passing and death is coming nearer and nearer. And we are afraid that death is coming near and we have not lived yet.
I'm part of the original Wiggle fan generation. When I was 6 or 7, I went to one of their concerts with my sister, and we were filmed dancing in the aisle. And now I'm a Wiggle!
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
Idling is important. Most people don't know how. They're afraid of it. This explains why they turn on the television set or pick up the newspaper. They think they have to be doing something.
I thought Marcus was going to be in my life forever. Then I thought I was wrong. Now he’s back. But this time I know what’s certain: Marcus will be gone again, and back again and again and again because nothing is permanent. Especially people. Strangers become friends. Friends become lovers. Lovers become strangers. Strangers become friends once more, and over and over. Tomorrow, next week, fifty years from now, I know I’ll get another one-word postcard from Marcus, because this one doesn’t have a period signifying the end of the sentence. Or the end of anything at all.
Sometimes we don't know how afraid we are until we've reached a strange door and we don't know what will be on the other side.
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