Top 1200 Best Performance Quotes & Sayings - Page 7

Emotion is more than just anger. When I am performing, I need emotion, but I need control, too. Emotion drives the best performance and is necessary, but it must be controlled. I believe Fedor [Emelianenko] does that. I do too. We may look different in how we do it, but we both do it.

Not everything, always, is about your performance. It's about the team performance. When the team is not playing well, then normally, you will not play well. It's all about the team.

Promising is the very air o' th' time; it opens the eyes of expectation. Performance is ever duller for his act; and, but in the plainer and simpler kind of people, the deed of saying is quite out of use. To promise is most courtly and fashionable; performance is a kind of will or testament which argues a great sickness in his judgment that makes it.

Looking back on my whole experience, the biggest takeaway was just being proud of what you do, and knowing that it's okay to do your best even if it's not the best. That's sort of the theme. I mean, obviously I'm not the best singer, obviously I'm not the best piano player or the best songwriter, but I'm doing my best on all of 'em. Once you have all those things in place, then I think everything falls the way it should.

You take the best ingredients - the best cocoa beans - and you process them in the best traditional way, and you have the best chocolate.

So much depends upon our willingness to make up our minds, collectively and individually, that present levels of performance are not acceptable, either to ourselves or to the Lord. In saying that, I am not calling for flashy, temporary differences in our performance levels, but a quiet resolve to do a better job, to lengthen our stride.

I'm interested in confronting police brutality and police abuse of cracking down on street performers and street artists, but also in valorizing street art as legitimate performance within the artistic sphere, where it's so often conflated with pan-handling and begging and not "successful" art. I want to change laws around street performance.

Sometimes the work can get in the way and you give a less-good performance, and sometimes it doesn't and you can really get to the heart of something. And all the other stuff is just interesting and adds another layer to your performance. It helps you find the reality. Because you're not just playing yourself, you know? That would be kind of boring.

With fiction, I've grown to really love the challenge of lying, the challenge of telling a good tale that isn't truthful, and working with performers is endlessly fascinating. You know, learning what a good performance is, how to get a good performance, how much or how little you need to create emotion or to create character.

Your performance depends on your people. Select the best, train them and back them. When errors occur, give sharper guidance. If errors persist or if the fit feels wrong, help them move on. The country cannot afford amateur hour in the White House.

There were radio shows where you actually got to hear people play off of each other and get that immediate magic that goes on. And rather than doing what a lot of shows do, where an individual comes in, reads their part, and you edit it together later on and try to build a performance, we're lucky because this is really very much a theatrical performance that is going on, every single week.

A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.

The only guy that was ever affected by climactic conditions in his acting was Kirk Douglas. He did a superb job in 'Lonely Are the Brave' because we were shooting that picture up at about 12,000 feet, and the rarefied atmosphere sapped him of any energy or strength that he had. That was his best performance.

The confidence you need is belief in your potential. If you see world-class potential in yourself, you'll put in the effort. If you don't see the potential, you won't put in the effort and you'll wait for the performance, and the performance always follows the belief in self.

You often hear when you talk to guys in our industry, that this is my personality, I just turn the volume up, but over the years, I've really become me. No volume turned up, no nothing. I've been able to go out there and just be myself. It's through solid performance after solid performance that people just take you for who you are.

Paul was just the most real guy ever. The best big brother, the best son, and the best father. The best everything.

I had such high expectations of myself. I was going to be the best mother, the best housewife, the best entertainer, the best nurse, you know - what it was, I was going to be the best. And I could never live up to my expectations.

Everyone wanted to be the best. Best student. Best servant. Best Christian. They got caught up in it, pressing and pushing until they forgot whom it was they were trying to please.

You've got to be the best at what you can do - be the best at it! And the best has to be the best; you can't just fiddle around and hope.

To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.

Being the free woman who is sexy and out there is a performance in a way, and being the stay-at-home mom and wife is a performance in itself. All of those performances are living and force you to make decisions about who you really are. Women have to put those performances ahead of things sometimes. Men aren't perceived in the same way.

If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.

I've always thought that when anyone receives an award for acting they should always thank their fellow actors, because the only way you're going to deliver your best performance is when you have other good actors on the set supporting you and being very present for you even when the camera is not on them.

Before every performance, you need at least half an hour to focus on what you are about to do: the walk-on and walk-off, the lyrics, how you are going to sing it - like, the original or bring your own personal flavour to it - how are you going to make it the best.

It's part of my responsibility, as an actor who has been lucky enough to have this job, to take my job very seriously, show up on time, know my lines, and give the best performance that I can because I'm doing something that so many other people work very hard to have and never get.

Raising your level of performance requires a proper mentality and meaning from within. This gives you the ability and drive to work on the things necessary to go to a higher level. When people ask me how to raise their level of performance, the first thing I ask is, How important is it to you?

I love storytelling, you know, beyond anything. I love a great story beyond a great performance. Storytelling is about what we all do together and how we collaborate together. A performance can be a collaboration in ways, but oftentimes it's one individual thing.

I might feel like one day is one of my best performances ever and I may top that performance or I may just pace myself for the next 5 shows. Rather I'm giving them a good show it will always be a solid same show so it always depends on my energy.

I find myself on Yelp typing in 'the best 'blank' all the time: best cheese, best ice cream, best pizza.

My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.

Lets tell young people the best books are yet to written; the best painting, the best government the best of everything is yet to be done by them.

To summarize, using money to motivate people can be a double-edged sword. For tasks that require cognitive ability, low to moderate performance-based incentives can help. But when the incentive level is very high, it can command too much attention and thereby distract the person’s mind with thoughts about the reward. This can create stress and ultimately reduce the level of performance.

I love, love, love live performance. It's like walking a tightrope without the net. You better be on point; you better be balanced. You better have rehearsed it and seen it from every vantage so you can do what you do best. I do love film because it's up front in your face, and hopefully you've got a great editor.

What I'm good at is making sure we have the best resources, the best talent, the best marketing, and the best access to distribution.

The grateful mind is constantly fixed upon the best. Therefore it tends to become the best. It takes the form or character of the best, and will receive the best.

Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art.

I can't say this enough - the food that you put into your bodies can actually help you get better grades. And it can also affect your performance in sports and other activities too. You see, when you give your body the best possible fuel, you have more energy, you're stronger, you think more quickly.

For myself, it's trying to do my best in whatever I am doing. At this time, it is boxing; then when I get home, I want to be the best father, the best husband, the best man I can be.

You never know when you're taking a job, ever... but you try to take good scripts. That's all you can do as an actor - take the best thing available. Even then, it's not [really] in your control. Certainly not in film and TV, because there are so many other elements. You just have to take control of your own performance.

When you're working with the best of the best, I'm not gonna put that on hold so I can work with people who studied the best of the best.

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The gospel shows us that our spiritual problem lies not only in failing to obey God, but also in relying on our obedience to make us fully acceptable to God, ourselves and others. Every kind of character flaw comes from this natural impulse to be our own saviour through our own performance and achievement. On the one hand, proud and disdainful personalities come from basing your identity on your performance and thinking you are succeeding. But on the other hand, discouraged and self loathing personalities also come from basing your identity on your performance and thinking you are failing.

Some days you really don't feel like racing and you have a great performance, some days you feel great and you have a mediocre performance.

If the lecture is good, then everything is too smooth. That's the same in music: if the performance is too good, you really don't enjoy it, because it just goes by, and you can never penetrate into the heart of it. Sometimes a poor performance is better for enjoyment, because you can look at those things that were wrong and analyze them.

Maybe at the core of me, I'm a survivor, but I don't do it on purpose. Sometimes, in acting of course with your performance, some of your own personal character seeps through. My performance goal has always been to perform for the audience. People pay their hard earned money, and so I always desire to give all of myself in every single scene.

My goal is to be the best TV presenter, the best entertainer, the best singer. I still want to be the best dancer. I want to be the best at everything I do.

I went to art school for fine art and then I started doing performance art, and then I started making fun of performance art, and it turned into comedy.

The Jackass movies are honestly some of the best movies I've ever seen. I laugh so hard at them. Those guys are geniuses. If they had grown up with a different group of people, they could've been performance artists at Bard College, and people would be writing papers about them.

Behavior must also be adequately assessed under appropriate circumstances. Ill-defined global measures of perceived self-efficacy or defective assessments of performance will yield discordances. Disparities will also arise when efficacy is judged for performances in actual situations but performance is measured in simulated situations that are easier to deal with than the actualities

I think the best compliment you can receive is not, 'Oh, that was really funny,' but, 'Is that the first time you said that?' It's something that you've said a thousand times, but if somebody says to you, 'Oh my God, is that the first time you've done that?' you know that performance was where you wanted it.

Socialism destroys everywhere one thing - diversity. Everything is supposed to be best, and as we know, best things are always in shortage. I remind once more that for reds "best" is what they consider "best" for us, and not what we like.

Jamaica has the best coffee, the best sugar, the best ginger and some of the best cocoa in the world.

Compensation needs to be predominately performance-driven. If CEO compensation was performance-driven, which I believe it was in IBM's case, nobody would ever argue. If the shareholders didn't make billions and billions of dollars, I wouldn't make millions of dollars.

I prefer musicals, because I am the best dancer who ever lived. The best plies, the best sashays, and by far the best-smelling Capezios.

An employer has no business with a man's personality. Employment is a specific contract calling for a specific performance... Any attempt to go beyond that is usurpation. It is immoral as well as an illegal intrusion of privacy. It is abuse of power. An employee owes no "loyalty," he owes no "love" and no "attitudes" - he owes performance and nothing else. .... The task is not to change personality, but to enable a person to achieve and to perform.

Although traditional incentives such as bonuses or recognition can prod people to better performance, no external motivators can get people to perform at their absolute best. . . .Wherever people gravitate within their work roles, indicates where their real pleasure lies—and that pleasure is itself motivating.

When you see a comedian on stage, the best comedians make it feel like a conversation. But it's not. We have very little interest in what an audience has to say during a performance. Being a stand-up comedian, you're an egomaniac to some degree. Everyone wants to hear what you have to say, apparently. That's not how real relationships work.

There is one thing of which I can assure you. If good performance of the fund is even a minor objective, any portfolio encompassing one hundred stocks (whether the manager is handling one thousand dollars or one billion dollars) is not being operated logically. The addition of the one hundredth stock simply can't reduce the potential variance in portfolio performance sufficiently to compensate for the negative effect its inclusion has on the overall portfolio expectation.

There needs to be somebody that looks out for what's best for the game, not what's best for the Big 10 or what's best for the SEC or what's best for Jim Harbaugh, but what's best for the game of college football - the integrity of the game, the coaches, the players, and the people that play it.

You know that this vignette and that vignette belong side by side, you know that a certain turn of phrase you've been saving will probably work best within a given section of the narrative. As in a jazz performance, writing lives or dies by what's produced in that moment. But that moment is attended by long preparation.