A Quote by Siobhan Davies
On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
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The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb; Or substance might be call'd that shadow seem'd, For each seem'd either,--black it stood as night, Fierce as ten furies, terrible as hell, And shook a dreadful dart; what seem'd his head The likeness of a kingly crown had on. Satan was now at hand.
I've already done things I never believed I would. Even stepping out of Northampton and being in London - London always seemed like the big city I might go to for Carnival, go for a party and a chill and then head home.
I think comedy is drama, often. It's hard to have comedy over a period of time - commercials are one thing, but over a period of time - comedy and tragedy go hand in hand.
A radical is one of whom people say ''He goes too far.'' A conservative, on the other hand, is one who ''doesn't go far enough.'' Then there is the reactionary, ''one who doesn't go at all.'' All these terms are more or less objectionable, wherefore we have
You're unwilling to go out on a limb because it just might break underneath you.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
Della was my go all in. She was my winning hand. You can't play when you go all in and lose. I'm out." "No, you're not. This hand ain't over yet," Rush said.
My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.
I've never gotten over what they call stagefright. I go through it every show. I'm pretty concerned, I'm pretty much thinking about the show. I never get completely comfortable with it, and I don't let the people around me get comfortable with it, in that I remind them that it's a new crowd out there, it's a new audience, and they haven't seen us before. So it's got to be like the first time we go on.
London has become really boring. I mean, years ago, London was really happening - there was swinging London and then punk. It was really different from other cities, and so I'd always wanted to go there and see what was actually going on. After that, hip-hop was the next thing happening, so to get the records or the proper clothing, you really had to actually go to New York. But now you don't really need to go.
You go through different emotions when you're in captivity. On the one hand you say, my career is over. On the other hand, you say, my career's just started. See with these weird extreme ideas of where you are based on this capture.
Reading 'Youth in Revolt' might have ruined my career because suddenly I wanted to abandon all the emotional truth of something and just go out far on a literary limb with completely implausible things that relied completely on voice and humor. And what saved me is realizing that I couldn't do that very well.
I live in Leeds, which is about 200 miles north of London, and I get to go and do all the 'Harry Potter' stuff and make great films and be part of this wonderful thing all around the world, and then I get to go home and chill out with my friends in Leeds and go watch the football and go to the pub.
It used to be with chocolate. I would put chocolate in my studio and say, "You know, Nat, there's this chocolate you can have if you get over there." And usually if I got over there, I would start writing. Sometimes I need get out of the house and go to a café and write. Sometimes I'll write with other friends to get myself going. And sometimes I just say "Ok, Nat, enough. Go one hour. Keep your hand going." I'll do whatever it takes.
Why don't you go get in bed?" I stood, laying my hand on his chest and staring up at him. "Is that a dare?" He laid one hand over mine and pull me closer with the other. Leaning down, he kissed me gently. "It absolutely is. No falling out of it allowed, though.
.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways
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