A Quote by Geoff Downes
With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.
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There were radio shows where you actually got to hear people play off of each other and get that immediate magic that goes on. And rather than doing what a lot of shows do, where an individual comes in, reads their part, and you edit it together later on and try to build a performance, we're lucky because this is really very much a theatrical performance that is going on, every single week.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
Maybe at the core of me, I'm a survivor, but I don't do it on purpose. Sometimes, in acting of course with your performance, some of your own personal character seeps through. My performance goal has always been to perform for the audience. People pay their hard earned money, and so I always desire to give all of myself in every single scene.
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
Having a performance goal is really fun because it gives you something to work for in every single session. As opposed to just thinking, 'Okay, I want to have abs,' you can build your way up through having performance goals to get abs and to get stronger all over!
It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.
With fiction, I've grown to really love the challenge of lying, the challenge of telling a good tale that isn't truthful, and working with performers is endlessly fascinating. You know, learning what a good performance is, how to get a good performance, how much or how little you need to create emotion or to create character.
While I was coaching, I believe the motivation talk I gave my players that achieved the best results was in reference to their present game-day effort. I stressed the fact that today's performance could be the most important of their life. Yesterday's performance was already history. Tomorrow really never comes, so today's performance is what really counts.
It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!
We can create the sensation of community through the accrual of actions, and that's often the clichéd way that storytelling is talked about, as someone taking a solo, and that's great for lots of reasons. But I don't really like to feel like I'm forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it's for lots of people, and it was created by lots of people, often.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
The performance on the stage has its reasons in the performance induced in thousands of separate minds and this second performance is no less prodigious than the first.
Some of Jimmy Stewart's performance in 'It's A Wonderful Life' is some of the most disturbing performance he ever did, when he falls apart and when he breaks down.
If CEO compensation was performance-driven, which I believe it was in IBM's case, nobody would ever argue. If the shareholders didn't make billions and billions of dollars, I wouldn't make millions of dollars. My salary was the same for 10 years. It was all performance-based.
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