A Quote by Brian Henson
I think initially it's terrifying because going into a show where, you know, "Oh, I'm going to be on stage for two hours, I have no lines to memorize, I have nothing really prepared," and actually I say that, the show is not all improvising.
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The stage for our whole show is actually really interesting and a lot of fun. There's always something going on so we figure even the people who come up and don't know Big Time Rush love the show because there's always something going on, so that's what we love about it.
I memorize my lines and I show up. I think it's just instinctual, and sometimes it's wrong and the director says, "No, do it this way." And then I can change, because I didn't spend all night practicing it this one way. All I do to get ready for the day is the night before, I read my lines once or twice, memorize them, and then I show up.
Oh my God, nothing compares to the pre-horse show jitters! It's like going on 'American Idol' or 'The Voice' all the time, because you're just going and getting judged for your entire show.
I think what we have going in the Casino Battle Royale is going to show people an exciting, different take on the traditional battle royal format, different than what anybody has done. It's not going to be two hours of battle royals. It's going to be really, really action-packed.
When I'm improvising, I'm out of my head. I've done a lot of projects recently where there hasn't been a script. It's all been based on outlines. At first, that's terrifying, just because you don't have the words in front of you and you don't know how it's going to come out, but that's what's really exciting about it. You don't know what's going to happen. It really forces you to listen to the other people, and I think the most natural acting comes out of that.
If I know I have to memorize lines, I'm really gonna try to memorize lines. It's hard for me sometimes, because somebody wrote these words and you're trying really hard to get them the way they said it.
The show is probably 60 percent improvising and 40 percent not. So there's quite a bit of it that we do have prepared and that part of it, you have memorized and you've rehearsed and you're prepared, just like any show.
A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.
My favorite show of my father Aaron Spelling is probably a show that was his favorite and that was a show called Family. He was the most proud of that show because, you know, my dad kind of got a bad wrap, I think. A lot of times people would say oh he just makes jiggle TV and it's all for entertainment purposes. But he did some really amazing shows as well that he was really proud of, that people kind overlooked. And Family was one of them.
Anybody who's in the dressing room after the show always says, "Oh, my God, I was kind of worried that the show was going to be sleepy because you were half asleep, yawning, and not really present."
An older guy, he's going to show you things that a young man can't show you. He's going to show you how to stay alive. He's going to show you how to turn corners where your young friends will show you how to turn right into that wall, you know what I'm saying?
I think there's just some fundamental decisions at the beginning that are going to make it different. Our show The Right Now Show is going to be specifically different than Mr. Show because of the talent involved.
I really try to get eight hours of sleep, and I really try not to go out after a Tuesday or Friday night show because I know I have a two-show day the following day.
I think the tone of the show has certainly changed over the years, because it's really, really hard to do something different when you have a show going on as long as this has.
Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.
When I see a young person on a reality show, I don't think, "Oh my God. They could be better." I think, "Oh my God. They are really good for 17. They're going to learn so much!" If they're this good at 17, imagine what they're going to be like at 20.
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