A Quote by Abby Lee Miller
Doing a show for three weeks is nothing like doing a show for seven seasons.
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When I was doing the breakfast show, I used to get up at three o'clock in the morning and go fishing before doing the show.
We tried to do a show once every three weeks to a month. We'd always do a new show. It was not successful. It did not become the Matt & Ben show, but it taught me what I like to do as an actor and what I like to do comedically.
When someone insists that you watch a show that's already been on for a few seasons, they're basically saying, 'Hey, you're not doing anything for the next five weeks, are you? Because have I got a plan for you every single night! It's 'Weeds!''
There is nothing like that crowd reaction, and nothing like looking someone in the eyes, someone that paid for a ticket to come to the show. I had the chance to go out there and close the show, doing what I love.
Every time I do a talk show or something, I'll be like, 'I'm doing 'Chandelier,' right?' and they're like, 'No, you're doing a skit and three dances.' It's different every time. I never really know what I'm doing until the day before.
Yeah, about sixteen to twenty weeks a year. For example, we can do America in six or seven weeks. You can do Europe in three weeks; England in two weeks. South America you could do in three weeks; Asia you could do in three weeks.
I've been doing comedy longer than I haven't been doing comedy, as I was performing for three years before I even got on 'The Tonight Show.' There's truly nothing like it; it's intense and exhilarating, even though it looks so casual.
There's nothing like doing a show at home. When you do a show in Chicago, there's just a certain love that you don't feel anywhere else; it's like home base.
It never seemed like that much of a mystery why shows I was acted in failed. When you're doing a show called Freaks And Geeks about young people in high school, and it's on Saturday nights at 8 and there's no promotion for it, it's not really hard to guess why no one's watching it. And when you're doing a college goofball comedy that premières three weeks after Sept. 11, it's not that hard to piece together why that's not the most important thing on the radar.
You know, 'Peepshow,' in retrospect that seems like a good fit for me, but in the beginning, I'm sure you remember, nobody was sure if the show was going to last. Everybody was like, 'What are you doing? You can't sing, and you can't dance. What are you doing in this show?'
You know, 'Peepshow,' in retrospect that seems like a good fit for me, but in the beginning, I'm sure you remember, nobody was sure if the show was going to last. Everybody was like, 'What are you doing? You can't sing, and you can't dance. What are you doing in this show?
I really put my heart and soul into everything and I don't want a project that doesn't feel real to me or I don't get invested in. In order to drive a show for eight or 10 years or whatever the target for doing a show is, it really has to be a part of you. Because then I can come up with stories for seasons and seasons on end. I wish I had the ability to just like the idea and get people in and drive it that way through their enthusiasm. For me, it has to be a little more of a personal thing, even if it's not a completely personal story.
When the 'Seinfeld' show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. 'Thor' is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.
When the Seinfeld show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. Thor is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.
Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.
I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.
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