A Quote by Claude Debussy
The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always the hope that something dangerous may happen.
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The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always the hope that something dangerous will happen.
It is not your work to make anything happen. It's your work to dream it and let it happen. Law of Attraction will make it happen. In your joy, you create something, and then you maintain your vibrational harmony with it and the Universe must find a way to bring it about. That's the promise of Law of Attraction.
I've said it from the very beginning: Fighting the best guys in the world doesn't pay as good as the circus. I want to join the circus. I'm trying to get that circus money.
A couple days before the stunts, if I'm doing something particularly dangerous, I will go over every worst-case scenario in my head, like this could happen, this could happen, this could happen, this could happen. I try to think about that to where it's ingrained in me.
I used to take circus lessons. I dreamt of being picked up in the street because they saw me doing something circus-like.
It's something you hope doesn't happen. When you sign on to do a job, you hope you'll be able to get it done. But that's not always in your control.
If you are aware that people are coming to you to receive your gift and not necessarily to you as the person, it keeps you very humble. Many people make the mistake of confusing the attraction of people to their lives as something that has to do with them as a person or a personality, and this is very dangerous and not true.
I've performed in Japan before, as well as many other non-English speaking countries. I find you really just have to be a bit more animated than usual. Call-and-response routines work well, if they are simple. Otherwise, I just dance around like a circus monkey and hope the crowd feels it.
The first fight I saw live, the fighter I was shadowing lost in front of a crowd of forty thousand people. The scale of that is staggering to me. Undergoing that overlap between something very personal and something very public strikes me as both admirable and also somewhat terrifying.
There are a lot of unseen projects. When a project is finished, I often physically, and in my mind, set it aside, intending something to happen with it, something that does or does not always happen. Now, a lot of these are being resurrected for the public.
Even though the public may perceive me differently, I always feel like I'm learning something new, and I like seeing myself this way. It keeps me focused on doing things with the love and care that comes from knowing you can always improve. I always have that in my head.
With a group of people, a troupe of actors in the theater, you go out on tour, and you're like a traveling circus. It's very sociable, and there's a real community, and it's very intense, and then you may never see them again. That was very appealing. I mean, it wasn't consciously appealing, but I think a lot of actors like that.
I was born and raised in New York and I'm of an age where I want to just be home. But, you know, when you sign up to be an actor it's like joining the circus and the circus is not always going to be in your hometown.
The past is something for you to learn from and the future is something that you hope is going to happen, but I'm always speaking to my actual fans in present tense.
Who doesn't need hope in their lives: hope that something can change, that someone cares, that not only bad things happen unexpectedly but good things can happen to us too?
I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls.
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