A Quote by Mike Portnoy

I don't care about technique. I have kind of been pigeonholed as a technical drummer since I was in Dream Theater for all those years, but it's actually very far from the truth.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
Theater roles are written by the great masters. The greatest literature that you can possibly know are the theater roles like King Lear, Hamlet, and all of those great roles. So all you do is you dive into these unchallenged roles and see how far you can get, what kind of accolades you can get, and how good you can be in them. In movie roles, you can actually improve them by knowing a lot about your own stage technique, which helps a great deal in the cinema and how you can project inner humor even though the particular dialogue is not necessarily funny, but you can infuse it with humor.
You get pigeonholed. It's a kind of safety device for people who don't really want to look any further outside of the box, but I'm actually impregnable as far as what people say about me.
I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
Any time I say anything about Dream Theater... Honestly, I'd rather not talk about it. Because no matter what I say, it will be twisted and... So I kind of have made myself promise that I won't talk about Dream Theater anymore.
I find that when one has worked long enough, technical know-how becomes almost irrelevant. In photography, it's not difficult to reach a technical level where you don't need to think about the technique any more. I think there is far too much literature and far too much emphasis upon the techniques of photography. The make of camera and type of film we happen to use has little bearing on the results.
Well, since I'm six years old, I've been playing the violin, the piano, I've been singing. It's always been a dream of mine, but I really never had the courage to actually go and do it professionally.
I'm talking about technical goofs. I'm pretty much on top of it. The kind of picture you're referring to would have to be more about the effects of technical things, technical phenomena, and I'm just not interested in that kind of work at all.
I had this fantasy. I would be at the Paramount Theater in New York and Louis Prima's drummer falls sick. The theater manager asks, 'Is there a drummer in the house?' I run up on stage and bang instant fame!
The qualities which technique requires for its advance are precisely those characteristics of a technical order which do not represent indivisual intelligence...The individual, in order to make use of technical instruments, no longer needs to know about his civilization.
I am a very technical guy. I'm proud of my technique, my fluidity, and my skill; that's what I work on every day. I try to out-technique guys.
I know that I make technical mistakes from time to time. It's one of the aspects of my game that I've been working on for years. I think I've managed to reduce the number of those technical mistakes to a minimum, but occasionally, they happen. On the other hand, I do have moments of technical brilliance.
I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.
I've been married for 17 years and you know how the actors say, "It's really technical. Those scenes are not sexy. They're just so technical. It's like work." And I'm like, "That's bullshit."
I actually don't mind whether people can choose the sex of the baby - in fact humans have been trying to do it for 3,000 years. But there is a real issue about the safety of the technique.
One of the reasons I needed to leave Dream Theater was because I didn't want to end my career as just the drummer in one band.
This site uses cookies to ensure you get the best experience. More info...
Got it!