A Quote by Maye Musk
When I go out on the runway, I can feel the audience vibrate.
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I don't feel that comfortable being on the runway with a G-string. I shoot G-strings with Victoria's Secret, but on the runway... It's really about the moment. I work with professionals. Professional people make everything look perfect, they make everything that you're wearing look great, if it's in a picture or on the runway.
I will be the first to say, when I started, I was the worst on the runway ever. I feel like I try to keep learning every time I step off a runway; I try to get better with each one. I hope that I'm getting better as I go - it takes a few seasons to get your Karlie Kloss walk on.
I was one of the first print models to go on the runway because I wanted to do runway. When I started doing the shows, I was the only print girl there.
I don't feel I'm fighting to reach this huge audience; it just happens. I go on stage before the audience arrives and look out to this vast empty house. There's something therapeutic about taking in the ring where you'll perform.
Walking the runway with Alexander McQueen, I really had to dig deep. You're with Kate Moss and Naomi Campbell. I was the first person out on the runway, but I thought, 'I have done the Olympics, I can do this.'
I feel most free onstage. The audience, it's an abstraction. You don't really see anyone out there, but you feel the audience inside you.
I think people who vibrate at the same frequency, vibrate toward each other. They call it - in science - sympathetic vibrations.
When you have a heartfelt belly laugh, all parts of your being - the physiological, the pyschological, the spiritual - they all vibrate in one single tune. They all vibrate in harmony!
The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.
When I walk down the runway, my main goal is to not think about the people watching. The idea of all eyes on me would make me too uncomfortable. As I step on the runway, I take a deep breath, focus on a point in the distance, and go!
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
The short amount of time I'm out on the runway is like going on a rollercoaster. It's such a happy, exciting feeling. I'm more like a racehorse ready to go - I just want to get out there.
Even today when I rehearse, I give it everything that I've got. If I'm in a performance and the lights go out, I glow in the dark. When you're working before an audience, you have to make them feel like they can touch you. That's the dancer within, reaching out.
I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.
When you go out there to do comedy, you feel like you're doing battle with the audience a lot of the time. You're either going to get 'em, or you're not.
Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor
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