A Quote by George Carlin
I'm not an angry person, just very disappointed and contemptuous of my fellow humans' choices - and on stage those feelings sometimes are exaggerated for a theatric stage - you're on a stage you have an audience of 2500 or 3000 people: you need to project the feelings, the emotions it's heightened, and people mistake it for a personal anger but it's more dissatisfaction, disappointment and contempt for these things we've settled for.
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Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
I am not a difficult man by any stretch, and I'm saying that with a full and honest inventory going on. I'm not. And I'm not angry on stage. There is a heightening. There is an intensification of the feelings on stage in order to let them carry the room. There is a theatricality about it. The whole thing is oratory, so there's persuasion involved. There's the art of rhetoric involved. And so, with hyperbole and with the desire to really punch the thing home, some of it reads a little more angry.
I know our feelings can be so unbearable that we employ ingenious strategies – unconscious strategies – to keep those feelings away. We do a feelings-swap, where we avoid feeling sad or lonely or afraid or inadequate, and feel angry instead. It can work the other way, too – sometimes you do need to feel angry, not inadequate; sometimes you do need to feel love and acceptance, and not the tragic drama of your life. It takes courage to feel the feeling – and not trade it on the feelings-exchange, or even transfer it altogether to another person.
Somebody has to be on stage, and some people have to be in the audience. That's the only difference. Don't put any thought as to why you are on the stage or how you need to be 'better' than the people in the audience. You aren't better. You're simply the speaker.
I think the more people you add on stage, the more locked it things become. Whereas fewer members on stage gets the audience to notice any small idiosyncrasy or unique moment that one of the three people onstage is having. It also means that mistakes are accentuated, but to good affect generally if you are that type of band.
I think what people respond to, and what they're responding to so strongly, is I'm very myself on stage. What you see in person is very much who I am on stage.
I have lots of personal feelings of my own, but at this stage in my life and career, I'm very much driven by assignment.
I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.
For me, someone like the Eddie Murphy character doesn't live anywhere; he lives on a stage and when he's not on the stage he's on a bus getting to the next stage. You don't really want to see him at home, or all those things you can do in the movie.
I can feel how an audience is reacting when I'm on a stage, but when you are on stage, your perception is distorted. That's something you just have to know. It's like pilots that fly at high Gs and they lose, sometimes, consciousness and hand/eye coordination and they just have to know that that's going to happen. They have to be trained to not try to do too much while they are doing that. So when you are on stage, you have to be aware that you are wrong about how it feels a lot of times.
On stage, you can bring all those strong emotions that you don't have the opportunity to live. You don't want to die for love every day, but on stage, you can.
Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.
The number of choices you make in the event that you see on stage, those choices are sometimes largely determined by the rehearsal process and the experiments that you go through and the choices that you make in the rehearsal room, not in front of an audience.
The stage is like a magnifier of thoughts and emotion and vibration; that's what the stage is incredible for because it makes you live other lives. It makes you experience other emotions. It makes you feel more beautiful or more alone or more angry. It makes you feel much more, more, more.
The less people that are on the stage, there's more drama. You start living the music with each individual. When you see a band with ten people on stage, just a huge ensemble, you don't know who's doing what.
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