A Quote by Carmen Cusack
I didn't know I was going to go into musical theater necessarily. It was never planned. I just kind of fell into it because I knew I wanted to act, and yet I had this opera training... I knew I had a voice.
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I started acting when I was really young. I knew I wanted to be in the industry in other ways. I knew that I wanted to do more than just act. I don't know that I knew it was screenwriting, but I just knew that I wanted to be involved.
I don't know exactly what kind of training musical theater actors get, but I never had that.
Touring was an abstract idea for me in the beginning. I didn't know where it was going to take me, but I knew that I wanted to go and play for lots of people. I always had that image in my mind. I had no idea what the touring experience was like, and how it was going to unfold, but I knew that I wanted to tour. Then it just started happening slowly started happening.
I was being groomed to be the theatrical caricaturist. And I know if I got that job, I'd never quit. So I quit. I knew I wanted to go into the theater... I wanted to act.
I knew in my heart I wanted to do musical theater professionally. I just didn't know how to go about it or how to communicate that to my parents.
I knew what I wanted to do when I was 13 and I had to go through four years of high school to get out. That's a blessing, because I never had to lay on my bed staring up at the ceiling going, 'What am I going to do with my life?'
I was 16, I just wanted to do something in my life. I wanted to be healthy, I wanted to lose some weight and I went for my first training. In the beginning I didn't know what Muay Thai meant. You know? But I liked it so much, and after six months of training I had my first competition in Poland. I won, and after that I knew that I wanted to do it.
I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.
People have made a living deconstructing Lennon and The Beatles songs because of their compositional sophistication. But what's so exciting about John is that he never had any of that training on musical theory; something just spoke to him, and he just knew what sounded right.
I had always wanted to make music on a big scale but never knew how it was going happen - until I saw a band in Oslo called Bridges. I was stunned. They had everything. The only thing they didn't have was me. I knew I needed to join, not for my own sake but for the band's. I knew I was a necessary ingredient.
I kind of muddled through 'Pride & Prejudice,' but with 'Atonement,' I knew what I was doing. That makes it sound like I had no doubt. I had doubts - I didn't know whether it would work. But I knew exactly what I wanted to try to do.
I was fuzzy on the details, but I knew the basic outline. I knew how I wanted to be, it was simply a question of being who I wanted to be.I thought I had had it all figured out before. I'd had the plan perfectly clear in my head. I wasn't going to cross into thirty without the triple crown in hand: serious boyfriend, career, and great friends..It was time to accept that maybe, just maybe, I didn't have to have it all figured out by the time I turned thirty. Maybe I could just work on me, and see what else fell into place.I was pretty sure that was otherwise known as living.
I had been doing all my school plays, elementary school, middle school, and high school, and then summer. I'd wanted to act for a long time, and I thought I was going to go to college and do theater, go that route. But 'Superbad' kind of fell on my lap. I was very, very lucky for that.
And Paul Moravec, not being a theater person, would always trust me when I said things that I am like, "you're going to need another 10 seconds of music year to get them across the stage." But I always knew that the people were going to be coming to hear his music of which my words are going to be a part. It was clear that he wanted to go and direction A., and I wanted to go and direction B. We would've gone and direction A. That's the most important piece of advice I can give to anybody who finds themselves in an opera, or musical comedy situation like that.
I try not to be a prisoner to those kinds of thoughts or ideas of what I think my life should be or shouldn't be. That's why I've never had a five-year plan. I always knew that I wanted to have children. It wasn't kind of something that I discovered later. I also never felt the biological clock ticking because I think I always knew that I wanted to adopt.
I always wanted to make an album, but I knew that I didn't want it to be a musical theater album. It's not that I don't love them - I own every musical theater album ever made - but it just didn't seem right for me.
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