Music, in performance, is a TYPE of SCULPTURE. The air in the performance is sculpted into SOMETHING.

The PERFORMANCE of a LIFETIME is the PERFECT thing to be doing at this AGE because I can USE the age.

What I learned from Mel BROOKS was audacity - in PERFORMANCE as in life. Maybe you GO too far, but TRY it.

It really doesn't matter who I fight. It's about me putting on a GOOD PERFORMANCE and just LOOKING good overall that NIGHT.

Imagine SPENDING seven years at MIT and research laboratories, only to find out that you're a PERFORMANCE ARTIST.

I GUESS because you STUDY the character and you do all those things. But when it comes down to it, it's still my performance, it's still my INTERPRETATION. I'm not going to, you know, be a clone - well, I was a clone of RICHARD Dean Anderson!

It was more freeing, MAINLY because he's so FREE anyway. He just is in his performance. So to MIMIC someone doing a free performance, WELL, that's PRETTY freeing within itself.

The bulk of my SET is instrumental and you have to give yourself and the AUDIENCE some relief because a PERFORMANCE is not about GREAT guitar PLAYING it's really about entertainment.

In 1949 there was a NEW thing called TELEVISION, to which my agency and advisers opposed as a PERFORMANCE MEDIUM.

An OUNCE of PERFORMANCE is WORTH POUNDS of PROMISES.

In theater, BLOOD is ketchup; in PERFORMANCE, EVERYTHING's real.

I generally FIND an affinity with a lot of the people I play and I SUPPOSE if I didn't feel an affinity for them then they wouldn't be PARTICULARLY GOOD performances.

An ACTOR should be judged by his PERFORMANCE only.

It would have to be CONNECTED with performance art SOMEHOW, either in the front of the HOUSE or the back. I was myopic about this from fourth GRADE on.