A Quote by David Rees

Talking about my personal life onstage, I've realized I'm not one of those comics who can do that. I can allude to it but I don't want to be a confessional performer. — © David Rees
Talking about my personal life onstage, I've realized I'm not one of those comics who can do that. I can allude to it but I don't want to be a confessional performer.
I want my personal life to be personal... And I don't care if you're talking about things that are true, you're still talking about my personal life.
I know I'm a grumpy old man, but I'm always more delighted by readers talking about the actual comics than people talking about how eager they are to have their favorite comics be "elevated" into another medium. Adaptations are great, but for me, comics have always been the destination, not a stepping-stone to get somewhere else.
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.
It's all so personal, isn't it? It's hard to talk about work without talking about things that are personal. Work is personal. I don't want to talk about my personal life, but it's on my mind, and it's in my work.
Country music busts the wall between performer and audience. There's a connection because there's a vulnerability, a confessional quality, to so much of the songwriting. Those lyrics take you in.
All I want to do is be onstage. A performer needs to perform.
When I realized that people actually wrote comics, that it was a job people could do, I thought, 'Gee, these things are only 17 pages long! I could probably finish one of those and find out whether I suck before I've spent five years of my life on it.' In stumbling into comics that way, I discovered that I loved the form.
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.
As a reader I don't distinguish between confessional and non-confessional work. After all, how do we even know that certain "I" poems are confessional? It's a tricky business, this correlating of the speaker and the poet.
When you hear me sit at the piano by myself and do one of those super-personal, confessional songs, that's where my true voice is.
I think that talking about the personal specificity, personal details, is how you get the big, big audiences - by talking about your relationships or your personal tragedies. If you reach out with that energy, you'll touch people.
You can write a whole fiction, and you're talking to people who have gone through that, in real life. But the truth of it is that when you're talking to those people, you don't care about your movie anymore. You just want to hear about what they have gone through. You want all of the details. It's amazing.
I wanted to be an actor because I wanted to be onstage. I wanted to do musical theater, and from that I realized I was interested in plays. I never imagined myself on television. I was so lucky to be onstage my whole life.
One of the problems with a lot of "confessional" writing is that it starts and stops with the confessional and doesn't really tie the "I" into a "we" at all. I'm still surprised at how mad critics get at that kind of confessional writing.
I hate the confessional. I love leaving the confessional. I hate going to the confessional. I would be a mess without it.
Tink is the voice of the youth. I'm not one of those artists who talks about unrealistic things or fairy tales. I'm not talking about expensive things and cars. I'm actually talking about what's going on in my life and every teenager's life, too.
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