A Quote by Raymond Cruz

I became fascinated by the fact that you could translate written material into performance. — © Raymond Cruz
I became fascinated by the fact that you could translate written material into performance.
I was driven to give the best possible performance I could based on the material that was given to me and that material was documentary footage of the President speaking to people.
As soon as I moved to Princeton in 1978, I became fascinated by local history, much of it Revolutionary War-era; and I became fascinated by the presidency of Woodrow Wilson at Princeton University.
While I was coaching, I believe the motivation talk I gave my players that achieved the best results was in reference to their present game-day effort. I stressed the fact that today's performance could be the most important of their life. Yesterday's performance was already history. Tomorrow really never comes, so today's performance is what really counts.
When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.
I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.
I became fascinated by the fact that people write to give away rather than write to be read. It's the difference between playwrights and novelists.
My mother was always fascinated with the fact that I could rhyme so much stuff.
I have always been fascinated by the values of sport and loved its rituals; in fact, since ancient times sport has been a byword for top physical prowess and spectacular athletic performance.
Ninety percent of a good performance of an actor is based on the material. If you've got the material there, you can ride it.
It's really up to the acting community to be willing to be educated about what performance capture is in order to fully appreciate it as acting. It's not a type of acting, but rather the use of technology to harness an actor's performance and translate it into an ape, another animal, or an avatar of some kind.
Nobody can give a good performance unless the authors and composers have written a good part, a fact which is often overlooked.
I became fascinated by marionettes, which I first saw in Venice. They were so haunted and so alive. You walked by them, and you could feel their presence, with their beady eyes just fixed on you.
Written poetry is different. Best thing is to see it in performance first, then read it. Performance is more provocative.
I was always fascinated by the fact that you could take paper and ink and create worlds, images, characters. It seemed like magic.
A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.
I became educated to the fact that the greatest pain does not come zooming down from a distant planet, but from the depths of the heart. Of course, both could happen; your wife and child could leave you, and you could be sitting alone in your empty house with nothing to live for, and in addition the Martians could bore through the roof and get you.
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