A Quote by Anthony Warlow
I start the show, and the armour goes on, and the showman comes out. When the show is finished, that comes off, and I become soft centred again.
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With a lot of shows, what you'll see happen is they start off really well, and they're very original, but they become sort of a version of themselves. They stand outside the show... they become a cliche of the show they once were. That's the whole 'jumping the shark' thing.
I started over again with an image: Nothing goes right. Then when The Godfather came out, all I heard was, Show respect. With me, you show respect. So I changed the image to I don't get no respect. I tried it out in Greenwich Village. I remember the first joke I told: Even as a kid, I'd play hide and seek and the other kids wouldn't even look for me. The people laughed. After the show, they started saying to me, Me, too - I don't get no respect. I figured, let's try it again.
My work means that a dressy outfit and full face of make-up is everyday wear, even in lockdown. But it's such a relief to take it all off after the show and know there's no prospect of having to find a second wind at the other end of the day, putting the armour back on again.
If you're a pitcher, and you're pitching and you strike me out and you start celebrating on the mound and showing me off, whenever I get a hit off you, I'm going to go and celebrate, and you shouldn't get mad. If you're a pitcher and strike me out and show me respect and you don't show me up, when I get a homer or a hit, I'm not going to show you up. That's what I believe.
Basically we learned not ever to do a show like that [ Gigi Does It] again. That took me to a limit that I didn't know I had. First off, I show-ran the show and was the head writer. I had never done anything like that before. It was an immense responsibility.
When I'm not doing the show, and the work has stopped, I walk into a restaurant and I'm shy; yet, when I'm in the show, when people come up with their phones and want to take my picture, I can handle it because it's almost like I'm wearing an armour.
I wanted to show off - a simple impulse or drive; in much the same way as some kids wanted to play football, I wanted to show off. Not complicated in that sense, very natural; it just depends on how you want to show off.
In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.
My main worry is that after a certain point you become so identified with a character and a series that you might not be able to get work when your show goes off the air.
You think that sense of humor goes as far as our ideology. I think that ultimately, we have we have very interesting reactions on our show. People are constantly saying, "I love your-your show is so funny, until you made a joke about global warming, which is a serious issue, and I can't believe you did that. And I am never watching your show again."
The history of the past is a mere puppet-show. A little man comes out and blows a little trumpet, and goes in again. You look for something new, and lo! another little man comes out, and blows another little trumpet, and goes in again. And it is all over.
My first show was called 'I Know I've Been Changed' in '92. I tried to do this show for years and years. It kept failing over and over and over again. Every time I went out to do the show, nobody showed up. I was like, 'What is this about?'
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
I wanted to show that even if you fail, you have the ability to pick yourself up off the floor and try again. I wanted to show a different side of what a disability looks like to highlight all the invisible ones.
The idea of the show is that it's active and that children will become involved and watch the show, but also participate in the show. And I didn't know if that would work.
The G7, just a European centric show, an Atlantic show, is fundamentally finished.
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