A Quote by Bonnie Raitt
I'm the same on stage as I am off stage. A lot of people who I admire - Bruce Springsteen, Jackson Browne - are not that different either. You hope that if you met them that they'd be as nice and well-rounded as they appear.
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When you see a Bruce Springsteen or Tom Petty or Jackson Browne show, the impression you get is that you'd love to have a beer with them. That's the image they project.
A lot of political music to me can be rather pedantic and corny, and when it's done right - like Bruce Springsteen or Jackson Browne or great satire from Randy Newman, there's nothing better.
The weird thing is I have now met quite a lot of people who are really famous but they are always disappointingly normal and nice. Alan Carr is very nice indeed. Exactly how you would expect him to be, and not that different from how he is on stage.
I have actual dreams of Bruce Springsteen calling me up on stage to wear a bandanna and play rhythm guitar next to Little Steven.
I am honestly very intimidated when I meet new people and they expect me to be the onscreen Vir. On stage, I say a lot of things I might never say in real life; I am never the life of the party. People are quite surprised to see that I am more of a quiet artiste off stage.
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.
I never wanted to be well-rounded. I do not admire well-rounded people nor their work. So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design.
In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.
Nicholas Hytner, who directed Center Stage, is a huge ballet fan. He was completely open, as was Bruce Beresford, to get our perspective. "No, we wouldn't do this. Yes, we would do that. That's not realistic." So, I feel like Center Stage did well in that respect.
I remember writing '5 Dollars' out of intense listening sessions of Bruce Springsteen. I don't know if it's obvious, but I was obsessed with how limpid Bruce Springsteen's melodies are: It's such a great way to do storytelling and to still be melodic and catchy.
I admire anyone who does stage all their life. It's so tough, and it also made me really appreciate how lucky I am with film. You have to do your own makeup with stage, and you have to do so many un-glamorous things.
I want to get to the point where one day I don't have to have anything but a rug and a microphone stand on stage and still be able to sell out places like Madison Square Garden, like Bruce Springsteen does.
I think who I am as a person on and off the stage is always kind of the same thing, but I don't take a lot of things very seriously.
I started once a week in North Carolina at a pub called Charlie Goodnight and met a lot of comics there. Then I moved to L.A., and if you're not known, it's hard to get stage time. So you start out doing what they call 'bringers' - you have to bring five people if you wanna get on stage. It was a lot of hustle, a learning curve.
Bob Dylan and John Lennon and Bruce Springsteen, these are soul guys. Bruce Springsteen might not sing like Otis Redding, but he sings with white soul. He's singing and he's writing songs from the bottom of his gut.
There is a remarkable nimbleness of style, a balancing act of tone, in Voltaire, which is hard to bring off on stage. When you speak the words out loud, the effect is very different from when you read them. So one needs to do something new with a stage performance, not simply 'tell the story'.
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