A Quote by Boy George
I had to go off to do my own thing, to get my confidence as a writer, and a performer.
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It's always been impressive to me when someone can really do what they want onstage. The audience has confidence in the performer and the performer has confidence in the crowd.
A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
When I get hired as an actor as opposed to a writer, one of things that's exciting for me is doing stuff I wouldn't normally do myself. So whether it's a kid's movie or a voice in animation or in this case - where I just get to be silly, it's a different kind of comedy for me. As a performer, it's a different pleasure than when you're writing or directing. As a performer, you're just in the hands of the director and you go with whatever they want to do.
I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.
Like, your body has to get used to being in front of people. Like - and you have to be like - you have to be kind of a ham, you know? Like, the thing about writers is they're generally self - comedy writers - self-loathing, sort of play small. And as a, like, performer, you have to think like a comedy writer but act like a performer.
I always tell people, when they ask me what to do to be a writer or to be a performer, the key is to go to a place where there are a lot of other people who are trying to do the same thing as you and taking it very seriously.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
I did get good enough to get on HBO's Young Comedians Special, but I certainly wasn't the person who got launched off of HBO's Young Comedians Special. That would be Ray Romano that year. I had some semi-intelligent jokes, but when people would see me, they would think, "Oh, that's a good writer." No one would ever have said, "Oh, that's a good performer."
When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.
The saddest thing was actually getting fed up with one another. It's like growing up in a family. When you get to a certain age, you want to go off and get your own girl and your own car, split up a bit.
Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.
Another thing I've observed is how critical the role of the CEO is when a technology truly is disruptive. In looking back on companies that have successfully launched independent disruptive business units, the CEO always had a foot in both camps. Never have they succeeded when they spin something off in order to get it off the CEO's agenda. The CEOs that did this had extraordinary personal self-confidence, and almost always they were the founders of the companies.
But as a writer and performer, I want to get paid for what I do.
There's a female writer-performer thing going on in TV right now.
I don't think any songwriter who comes up through playing clubs can really claim to have independently developed their art. All along the way so much information is coming, the writer inside the performer unconsciously reacts to all of that. By the time they get to be thirty, the writer is gone.
I suffer depression only in the sense that I am a writer. We don't have proper jobs to go to. We are on our own all day. Show me a writer who doesn't get depressed: who has a completely stable mood. They'd be a garage mechanic or something.
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