A Quote by Hilary Hahn
The encore should wrap up the audience's experience of the piece you just played.
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The encore is the short piece after the program has finished, where the performer brings out something that the audience doesn't expect.
'Encore' was an experiment. 'Encore' was the second chance at a first impression. 'Encore' was not completely planned.
Encore' was an experiment. 'Encore' was the second chance at a first impression. 'Encore' was not completely planned.
Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.
I can't dance to save my life, really - proper, proper dad dancing - but I was once at a wrap party for a show, and at the end of the night, they still hadn't played 'Dancing Queen'. So we extended the wrap party for 40 minutes and played 'Dancing Queen' 11 times in a row.
The biggest piece of advice I would give to other women and girls is that it's really hard, and I feel like we're promised in like these phrases like, "Never give up," and stuff like that, it's going to be easier if you just listen to them. In my experience, and I think the experience of my friends and other women around me, it's a lot - you have to do a lot for yourself because the world isn't as friendly to women and girls as it should be, and it's not as helpful as it should be.
The expensive ones are for Starz. No. We decided, as part of our Encore strategy, to broaden and strengthen and help focus the Encore plexus by adding original programming.
In this case, I don't know why they [Seth Rogen and Evan Goldberg] thought I would be a good lavash wrap or I would do a good Middle Eastern accent. They just assumed I would. They called one day, and they're like, "They're doing this read-through for Sausage Party, and you're going to play a lavash wrap in it." After I looked up what a lavash wrap was, I was like, "Oh, cool."
I played in Europe and it was a great experience, not just because of my team-mates and the coaches we had, but from the fans and the city itself - I played in Gothenburg and I played in Lyon and soccer was everywhere.
That authentic experience that happens both in the artist and in the audience you can classify as a mystical experience. You can classify it as aesthetic shock, or even a psychedelic experience. Some people seek to recreate that experience through drugs. But the other way that you can do it is through art, and through spectacle. We have those experiences when we go to rock shows, or when we listen to a piece of classical music, or read a particular poem, or see a painting.
I quite like the drama of an encore. I think an encore is for those artists who are inclined to do dramatic gestures, and I certainly would say I am inclined towards them.
You learn a great deal that you can feed into your craft which gives you the experience that you actually need later on, when you start to get the really great roles. You've played that part to a certain degree in that picture, and you played that one in that, and so on. You add it all up, and you have that experience.
A piece of art - this goes for a painting or a sculpture or a book or whatever - really shouldn't have to do with the set of expectations that the viewer or the audience or the reader brings to that work. It should just have to do with how they interpret it and whether they like it or not.
I don't even think you should tell the audience you're improvising. It's like an apology in case it's bad : 'we're just making it up' If the improv isn't better than the rehearsed stuff, then you should just rehearse it.
People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. Even just landing in Albuquerque or Salt Lake City or Las Vegas was immediately part of the experience. And then you'd get in a car from the airport and take these very long trips - in Michael Heizer's case, it was three hours by car to get to his work. And then there's walking around and into the piece and seeing it from different angles. The kinetic experience of being a part of it physically was very important for me.
You just went up and started playing, the audience got into it, and it was just a great high experience. That's what I kind of invented with "Mas Tequila" in Cabo.
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