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 will 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 may 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.
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'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.
The best way to not feel hopeless is to get up and do something. Don’t wait for good things to happen to you. If you go out and make some good things happen, you will fill the world with hope, you will fill yourself with hope.
I used to take circus lessons. I dreamt of being picked up in the street because they saw me doing something circus-like.
I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed.
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.
It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.
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.
We're like a two-year old playing with fire ... we're messing around with something really dangerous and don't really understand what will happen.
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.
People crushed by laws, have no hope but to evade power. If the laws are their enemies, they will be enemies to the law; and those who have most to hope and nothing to lose will always be dangerous.
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.
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.
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