I'm very fast on teaching guys. Like, when I came over here, I only had two rehearsals with the band. I wondered when I first got here... but it sure came up great.
By the early '70s I had gotten reasonable and I started to get in hundreds of groups that rehearsed and never played at all. I mean, the most important thing was to look good and have a great name.
The level of sacrifice in the world of dancing is incredibly intense, that work ethic if nothing else - get up, go to class, rehearsal, performance, get up, go to class - that's your life, and it's like that for a finite time, usually.
Sometimes the better the writing, the harder it is to play because you really want to service it. It's hard to be that quick and articulate in life. You've got to try to make it seem discovered, you know, not rehearsed.
I survived on sandwiches, and I was on stage every night for six years of my life. I was working 16 hours a day between class, rehearsal, being on stage.
Actors know, with me they aren't going to be allowed to rehearse a scene for a couple of hours and then get away with doing 25 takes before we get it right. So they come with their full bag of tricks.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
I think that the old Mothers started that trend of rehearsing long hours. We went as long as the later bands did except we didn't get paid for it like they did.
No one could have predicted on day one of rehearsals, that a year and a half later we would have shot a film and all be living in New York. It was surreal.
In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.
It was my contention that opera can not only pay for itself if it is well given, but it can also command a much wider audience if given like a play with lots of rehearsals and wonderful singers that fit the role.
There is always a sacred hour in the theatre - after rehearsals and before performances, in the afternoon, between three and five o'clock. Normally the theatre is empty then, and this is a wonderful hour.
Well, you know it was so different from when you rehearsed. You're out there with your guitar and trying to get a sound, but it doesn't sound anything like what you expect!
I have more fun hanging out with my friends who are musicians and rock stars. You know politicians by and large are pretty stiff, pretty rehearsed.
We had all week to rehearse. An audience would come in at the end of the week and we'd our little show. Most of the ad- libbing happened during the week on the show.
Winter testing is essential but there comes a point where you have had enough of all the rehearsals and the pretend racing. You just want to get down to the real action.
The key for me is really just to stay in a child-like state in the rehearsal studio. I'm really goofy and really silly and crazy. If I get too serious, I start hitting a wall.
Somewhere in talking and rehearsing, there is a magical moment where actors catch a current, they're on the right road. If they really catch it, then whatever they do from then on is correct and it all comes out of them from that point on.
It's not really that I didn't want to perform at all. What I didn't want to do was try to put together a band, rehearse, on my own. You know what I mean?
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
You know the first time I sat in the chair I felt anything but up, it was very emotional for me. I had a chair in my hotel room, a chair at rehearsal, and I was trying to spend as much time as I could in the chair.
