I think performers are all show-offs anyway, especially musicians. Unless you show off, you're not going to get noticed.
All the best performers bring to their role something more, something different than what the author put on paper. That's what makes theatre live. That's why it persists.
The role of an orchestra in the 21st century isn't just playing, it's about developing future audiences and performers.
It takes stamina to get up like an athlete every single night, seven to eight performances a week, 20 weeks in a row. And there are many young performers who only learn their craft in the two minute bits it takes to film a scene. You never learn the arc of storytelling, the arc of a character that way.
Bands today have to learn their craft by putting the hard work in that we did when we were young performers.
If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.
I think Phil Collins is one of the most underrated musicians, singers, performers - he is absolutely amazing, I think, and I think he's probably got a bit of a rough ride occasionally because he became so mainstream and so popular.
Some have called we rock and roll performers who never retire 'troubadours.' I enjoy this misnomer immensely. While there are many differences between me and my distant predecessors in L'Occitane, I do believe there is a lineage that connects us of the last 70 years with those romantic singers of the High Middle Ages.
I run Willow Management, which is the biggest agency for other short actors. We look after performers who are either under five feet and over seven feet tall.
After costs, only the top 3% of managers produce a return that indicates they have sufficient skill to just cover their costs, which means that going forward, and despite extraordinary past returns, even the top performers are expected to be only as good as a low-cost passive index fund. The other 97% can be expected to do worse.