A Quote by Karen Allen
If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.
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Every injury is specific to what has happened, but the advice that I will give is that if you have a lower body injury, to work your upper body out. If you have an upper body injury, work your lower body out. Again, move what is not broken and you will definitely feel better.
I got to work on my body, kept working on my game, and also just got to learn out there from the guys who are playing. Getting stronger, working on my upper-body strength, lower-body strength, just trying to get stronger.
In the game of football, you need to be strong, and at my position, you need to be able to put up a good fight. So I work on my upper body and lower body strength because your body's got to be able to last.
I work legs, upper body, everything. Legs are very important. I do hang cleans and squats - I do primary exercises. Squats work over 60 percent of your muscle mass in your body. The hang cleans work on my explosive movement, which is essential for success.
In baseball, I had this lower body but nothing in the upper body. I had to counteract years of training and work the upper body.
Let's see... Rihanna! Work, work, work, work, work, work; OK, what? How much work does it take to move your behind, honey? I don't understand the job situation you're going through.
I started making work, and it's like, yes you are calling out all of these things that are part of your memory, your body's memory, things that have gone through your pores, what you've seen, what you've experienced, and you spill them out without thinking. I don't think so much about, "Okay, I'm going to make work, and it's going to be about this." It's just going to come out.
You have to realize that your work is done by your body, and if your body is in very bad health, it's not going to work for you no matter how young you are. So, I'm a bit of an athletic coach when it comes to trying to respect my body's needs and tendencies, and when I teach students, I try and persuade them of the same.
People do not follow uncommitted leaders. Commitment can be displayed in a full range of matters to include the work hours you choose to maintain, how you work to improve your abilities, or what you do for your fellow workers at personal sacrifice.
My body is an object of work. That's why I think to be an actor is one of the most violent jobs. If you're a pianist, you have your piano. If you're a guitarist, you have your guitar. But if you're a dancer, or you're an actor - your instrument is your body.
As an artist your trajectory just has to keep going up. the thing that subverts your next body of work is the work you've taken before.
As soon as you hear a fighter say, "I'm working smarter, not harder," you always want to bet against that guy. That mentality does not work. You have to work hard. And sometimes that means you are going to work too hard. You are going to decline. You are going to tear down your body and your muscle fibers. You are going to get sick.
Being a former dancer, classical dancer, it informed me as a human being just in terms of the grace I guess. Ballet is a very graceful form of art. You also become very aware of your body and your mind and your body is working in conjunction. That kind of helps you in acting as well. It's not only using your mind, it's like making your mind communicate this character into your body so that you can bring it to life and physicalize it.
If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.
When I looked at people like Goya and Pina Bausch, the message I got was just do what you're passionate about. Don't think about what other people are going to say or how they're going to receive your work. Just be your work.
There has been evolution in my work. In the beginning I was very much busy with the physical body and the limits of the physical body but that somehow naturally led me to the mental body and how I could deal with that. Stillness is so much harder, especially for three months. It was a big challenge. As a performer it is the most difficult experience one can have. And the interactive experience with the public made it even harder.
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