A Quote by Kevin Jonas
You can feel how the audiences react. For us, it's about the performance and the reaction. We feed off the energy. And no matter how enthusiastic they are, we can tell if we're playing well or not.
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I think the takeaway from not holding President Obama accountable is, no matter how enthusiastic you are about Hillary Clinton, no matter how enthusiastic you are, the first thing that needs to happen is that people need to start planning how to hold her accountable.
With every performance I just feel more energized somehow. Like, this is how I exercise! This is how I feed my ego, by playing this loud rock music.
When you are in the studio, you don't have anybody to feed off of; meanwhile, when you are playing live, you interact with people and you feel the energy in the room. When the crowd is going crazy, that definitely impacts your vocal performance. I prefer to sing live.
I do not believe you could intellectually comprehend all the different forces playing upon us. Yet what you can do is become very silent, so you are not distracted and then begin to feel how these forces playing upon us are affecting us, and according to how we feel, we can then make intelligent decisions as to how far, how deep, how much, we explore in any pose.
The attitude in terms of how players work both on and off the field has a massive impact on us as coaches but also the performance and how the team does as well.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
The simple process of eating and breathing weave all of us together into a vast four-dimensional array. No matter how isolated you may sometimes feel, no matter how lonely, you are never really cut off from the whole.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
Watching first nights, though I've seen quite a few by now, is never any better. It's a nerve-racking experience. It's not a question of whether the play goes well or badly. It's not the audience reaction, it's my reaction. I'm rather hostile toward audiences?I don't much care for large bodies of people collected together. Everyone knows that audiences vary enormously; it's a mistake to care too much about them. The thing one should be concerned with is whether the performance has expressed what one set out to express in writing the play. It sometimes does.
Secular writers can tell a story about the physical, the emotional, and the intellectual parts of a character. But no matter how well they tell the story, they miss a facet that is innately part of all of us - the spiritual.
My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.
Too often we worry about how the others react-but it's YOUR reaction that they monitor.
You can't control everything. You can't control how someone feels about you. Or what makes them tick. You can only control how you react, how you act, how you think and feel.
It's easy to sell good news like this, and the authors confidently rely on classic fallacious arguments. They argue by declaration, which is what makes the books so amusing. In matter-of-fact, authoritative tones, the authors tell us how plants and human beings exchange energy - or they describe what angels look like, whether or how they're sexed, how they communicate with human beings, and how they differ from ghosts. Readers might be expected to wonder, How do they know?
It's not a matter of us standing outside it and ticking off the boxes: yes, the Bible is faithful here; yes, it's telling the truth there, and so on, but rather granted that it's God-given. It's the frame of reference that shows us how to live in, tells us how to think about everything.
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
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