A Quote by Craig Ferguson
I felt that, as time went on, an audience gets to know you and in a weird way, you kind of feel like you get to know the audience a little bit. When I'm doing stand-up gigs now, I feel like I'm doing gigs in front of people I know. I think that's the result of doing late-night shows for so long.
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I always say, thank god I have this job or I don't know what I'd be doing. It'd be sad. I've always felt like I have been trying to brand a world for a quite a long time. You know what though, I feel no different. I feel like I'm doing the exact same thing I did in high school. Only I have more people helping me out now. And we have to take it all the way.
I have to say, doing theater, that's what you're trained to do. Doing film, when I first started doing it, felt like something else entirely. It felt like the difference between, I don't know, waiting tables and painting a great work of art. It's night and day. I didn't feel like it was even acting.
I think that everything looks a little scarier at night, when the sun goes down. And I know I kind of want a sense of reassurance or a community. Late-night shows is a rare place because that's what we do. Increasingly, I felt like I didn't want to be that guy. I didn't want to do that. It wasn't the only reason that I stopped doing it, but it was a consideration - I didn't know how to process tragedy after tragedy and then ... it just got too much, I think.
Home gigs can be hard because it's an odd collision. More than anything, I feel self-conscious when my family are in the audience. I'm doing this job which is not quite acting - part of it is me, part performance. You're presenting a cartoon of yourself to people who know you as a line-drawing.
My music already has this oldish kind of quality to it, like you don't necessarily know what era it was recorded in, so it all kind of felt surreal and weird. Night after night when I played live, I was really trying to figure it out in real time, and I still don't know what effect I'm going for or what effect I actually achieve. Looking back, I feel like it would be arrogant of me not to appreciate the fact that I've been able to do whatever I want and still have an audience come see me.
I'd have to do unannounced gigs because your fans will laugh at everything because they know what you do already. What you really want is a neutral audience that isn't too harsh - a good comedy crowd - but that don't know necessarily what you're doing.
I just feel so upset when I think of all the lost years when I could have been doing stand-up gigs.
I feel like you've gotta be able to get up every night in front of a live audience. Whether it's 10 people or 50 people or a hundred people, whether you're in a rock band or doing the comedy circuit.
When you're doing comedy constantly, you're organized: you know where everything is, you know how to get out of it, you know how to stretch it. But, like, doing 'SNL,' I stopped doing spots, and then I would finally do some sets - it take me so long to, kind of, get in the rhythm of it.
The two sports are as different as Ping-Pong and rugby. In boxing, you don’t know what’s going to happen. In wrestling, it’s already prearranged. But the thing I didn’t know about wrestling is that you really get hurt. Because, you know, you’re wrestling in front of a live audience, and you end up doing things like jumps or slams, and 40 percent of the time you don’t land right.
You know, we’re not on stage, we’re not doing a play, so we don’t have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.
You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.
Now when I say Sophie Ellis-Bextor I feel that's not really me because that's become this entity from doing the gigs and the shows and the make-up contracts and whatever else.
My first big career purchase when I was, like, 17 was a Louis Vuitton laptop bag. Now, seeing the exhibit [Louis Vuitton's "Series 3" exhibition in London], it's exciting because I feel like I kind of know it. It's weird - it's almost like something you grow up with and you just know a little bit about it. Now that I'm immersed in it, it's kind of insane.
The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange.
If you're not doing something right, you can feel it on stage, and if it isn't going well, the audience will tell you. A teacher can teach you sense memory and this and that, but until you get in front of an audience, you don't really feel it.
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