A Quote by Mike Birbiglia
Failure's hard. There's no way around. Bombing on stage never feels great. You feel judged, you feel alone. But then when your performance works, it's transcendent.
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You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
You just have to do the thing that you feel is true to your vision, and then the audience will make the decision. But as soon as you feel like you're creating a product to just cater to what you think they want, it never works. It always feels phony. And the audience can tell immediately.
The truth is we all get tired, we all get weary. In fact, if you never feel like giving up, then your dreams are too small. If you never feel like quitting, then you need to set some larger goals. When that pressure comes to get discouraged and to think about how you can’t take it anymore, that is completely normal. Every person feels that way at times.
If men or women don't feel [the way I do], then don't live your life that way. Whatever works for your relationship. It's not just sex. I feel like that about dinner, about taking care of who you're with.
Then you see something like the Gucci advertising and you're like, "Yes!" It gives you confidence because you feel like you're not alone - you don't have to copy it but you can find inspiration. It's not only Gucci; I feel like everything is moving quickly and there's a lot of excitement and turmoil around these designers leaving their brands, but it feels like it's buzzing. There's stuff happening and I feel like it's always exciting when there's movement.
Make choices that are loving for yourself - with your diet, your relationships, and in speaking your loving truth - that are in alignment with what you want to be doing. When you see that in a person, you are seeing their passion and fulfillment, and that person feels good to you because they feel good to themselves. I know that I feel good and I think that comes across on stage; when I didn't feel good before, I think that came across on stage.
The way I dress depends on how I feel. I never have to psych myself up. Usually it just feels like it works.
The part of us that feels anger and depression is the same part that feels peace and love. If you refuse to feel the anger and the pain of a loss, you will not be able to feel anything else until that area heals. In other words, stay out of your own way. Let yourself feel bad if you want to feel bad. Feel joy, too. Healing is taking place. Give yourself the gift of healing.
Well, feel this, why don't you? Feel how it feels to have a bed to sleep in and somebody there not worrying you to death about what you got to do each day to deserve it. Feel how that feels. And if that don't get it, feel how it feels to be a colored woman roaming the roads with anything God made liable to jump on you. Feel that.
I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
Alone, human beings can feel hunger. Alone, we can feel cold. Alone, we can feel pain. To feel poor, however, is something we do only in comparison to others.
When you're really bummed out, the last thing you want to hear is up-tempo and positive. And it lets you know that you're not alone, that somebody has hurt before. It works the same way with chick songs as it does with political songs. When you hear somebody singing about these things, you know that you're not alone, that somebody else is suspicious of what's going on around us in the world. So you don't feel like you're crazy, and you feel like you might be able to make a difference.
I think that the way that I write stories is by instinct. You have some basic ideas - a character, or an image, or a situation that sounds compelling - and then you just feel your way around until you find the edges of your story. It's like going into a dark room... you stumble around until you find the walls and then inch your way to the light switch.
I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
There are periods when you feel really good. You feel the ball is bigger. The court is larger. You feel like you can't miss. And then there are periods when you feel, 'OK, I'm not feeling great.' But I still need to try to find a way to win.
I started by doing a little funny story, and then I started going to open mics. I realized I had a lot of work to do - you have to get over the stage fright and get your stage presence up. It took me some time, but I finally feel that I'm at a point where I feel comfortable on stage and giving my point of view.
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