Quotes of All Topics . Occasions . Authors
I was involved with sports and student government, the regular stuff. I liked movies and all, but I did love the singing and putting on musicals, and I was always comfortable with that. I liked it.
One of things I'd love to do one day is a Shakespeare with Trevor Nunn. I've done musicals with him, but never Shakespeare. There's no one better.
Alice Ripley was someone who had had a huge effect on me when I had gotten out of college and decided that this was the road I wanted to take - to write musicals.
The thing about movie musicals is that there have been some brilliant ones, but when they're bad, they're really bad - big white elephants.
Growing up, I was always in my high school musicals and everything, but I kind of stopped doing all that when I finished school and acting became my main priority.
What's great about musicals is their energy and go-for-brokeness - stopping the story to sing and dance. How can you not love that?
Lyrics can't do what they do - or should do - when you're creating a musical with rock lyrics. There's plenty of room for rock musicals, just not all rock musicals.
I didn't grow up listening to musicals. I sang coritos or Spanish spiritual songs and was raised on gospel singer Kirk Franklin.
Nobody knows I sing. Even though I've done Broadway musicals. I would only pick it over acting because it's such a pure form of emotional expression.
Most successful musicals need to attach themselves to something bigger than themselves, a concept that will make people feel immediately connected to it.
I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.
It's exciting to share an art form that I would never have imagined sharing with the deaf community. Doing musicals, it's not like, 'Oh, I'll do a musical with a deaf person.'
I grew up in musicals actually, and the last show I did in Dublin, 'Alice in Funderland', was a musical, and one that was written around my voice, which was nice.
Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.
I'm going to take the kids away over Christmas but I don't, I've written 14 musicals now, I don't want to rush into doing something just for the sake of doing it. I want to do it when I find a story.
Organized religion and musicals present tenets to live by that don't entirely make sense but, on the whole, make people who believe them secure, thus giving an appearance of inclusiveness.
I grew up doing musicals. I've done so many musicals in my life, I kind of got them out of my system. But, I certainly would be open to them. Rocky Horror Show is a big favorite of mine.
There's something to writing a hook and something to writing a memorable melody. That's what I liked about musicals. Then I realized I could write my own songs, and I didn't have to sing other people's.
You have to understand the medium you're writing for. People jump into writing musicals without realizing how complicated they are. Knowing one form doesn't necessarily mean you know the other. You have to be comfortable with it.
I always loved soul music. My dad was a very religious guy, and we would listen to a lot of gospel and soul music. My college girlfriend introduced me to musicals. She listened to them, so that was the first time I heard 'Dream Girls.'
Some I want to see just for curiosity. But no, I don't really rush out to see a bunch of musicals.
Darling, when you're as old as I am, you cherish the very few musicals that have come your way that you know are great classics. You become their guardian.
I always had an eye toward the stage for the story of Hamilton's life, but I began with the idea of a concept album, the way Andrew Lloyd Webber's 'Evita' and 'Jesus Christ Superstar' were albums before they were musicals.
The biggest myth I'd like to bust isn't about me - it's about musicals. So many people dismiss the entire art form through highbrow snobbery, but I think a lot of those people would be suprised if they actually saw some.
There were no TV musicals until we did Bette Midler 'Gypsy,' and the success of that opened the door for us to do the rest.
I've auditioned for musicals a lot, but I think my voice didn't really match what they were looking for. I went to school for musical theater for a year and dropped out. Legit musicals are not quite my forte.
TV has the unique opportunity to take musicals, live events, so it has that feeling and excitement and spontaneity, but still has a camera between you and what you are watching.
I love fantasy. I love horror. I love musicals. Whatever doesn't really happen in life is what I'm interested in. As a way of commenting on everything that does happen in life, because ultimately the only thing I'm really interested in is people.
I absolutely love working on musicals, but anytime I finish a project, I want to move on to something completely different.
I'm doing 'Les Miserables,' the movie. I've done a lot of musicals and a lot of movies, and I know there are not a lot of people in Hollywood who have been down those two paths so I've been like, 'Come on, let's do a movie/musical.'
I've had so many experiences with film or musicals or books where I just walk away changed in some way. One of the things that makes me want to be a writer is to pour my heart into something and hope that I can affect someone in that same way.
The musicals that I loved, growing up - many, many. 'Singing in the Rain,' of course, is a classic, I love 'Meet Me in St. Louis.' I love 'Funny Face,' Stanley Donen's beautiful movie. It's really countless for me.
There's something about some of my favorite musicals that they put me in a sort of heightened state where I feel like I'm floating out of the theater rather than walking out.
Everything can't be a postage-stamp-sized project. Everything can't be a chamber piece. Musicals aren't even meant to be that, or identified with it... It's none of it simple.
Movies, there are moments when you're writing a song or demoing, a moment in the recording studio. Musicals much more just eat up your life for a certain period of time.
Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.
Corny answer is of course is that everyone who wants musicals are children in different ways, aren't they? So you think of them in different ways. There are things of mine I'm sorry haven't come here.
When it comes to writing musicals, you write the best piece you can. Then, its destiny is in the hands of the actors and the director.
We're finding that the casting of 'A Few Good Men' is different from the musicals because the kind of actors that you need to do it are movie actors, basically.
A lot of '20s musicals were a hodgepodge of melodrama, mixed with operetta and romance, and then some sense of modernism and some sense of irreverence.
When musicals don't work, they really don't work. But when they work, and someone is singing because they can't speak anymore, or they're dancing because they can't move anymore, moving is not enough to express - it's this beautiful thing.
There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
When I first started working at Disney animation, I can't tell you how many people said to me, 'Oh, man, take a powder.' Nobody takes animated musicals seriously. I swear.
I'm very opinionated about movie musicals when they're adapted from live shows. You'll sit still for a three-minute song in a theater. But in movies, a glance from someone's eyes will tell you the whole story in a few seconds.
When you're on tour with the band, it's a different mentality. You don't sightsee because you're making sure you can do the show. But in musicals, I don't have to sing or play: I just have to use my brain, and the rest of the time, I'm free.
We'd go to studios with ideas to do movie musicals and they'd literally kick us out. They said, 'Audiences aren't interested in movie musicals. You're wasting our time.'
The worst thing when you're working is to say, 'I have a question,' and the other person goes, 'No! This is what it is.' That kind of rigidity is very challenging because musicals are constantly mutating.
Certainly, I've loved musicals for a while, so I did some short films in college that had musical numbers and things like that, so I've kind of been obsessed with Fred and Ginger and Vincente Minnelli and Stanley Donen and Jaques Demy forever.
It rests in the hands of 'Dreamgirls' and 'Hairspray.' If they're successful, we'll be back on track - people will continue to greenlight musicals. If they don't work, then you're going to see everyone go back to the way it was before 'Chicago.'
I viewed black musicals before 'Jelly' as a form of cultural strip mining. The exterior remained, but all the culture that signified where the people had come from and their connection to the earth was absent.