A Quote by Diana DeGarmo

I love musical theater because it's live. There is no Auto-Tune. There's no second chance. What you see is what you get. You have to be amazing every night. — © Diana DeGarmo
I love musical theater because it's live. There is no Auto-Tune. There's no second chance. What you see is what you get. You have to be amazing every night.
I use Auto-Tune but it's not to mask anything. If you come to see me live, I can sing on the spot. Auto-tune is just for the recording. It keeps everything really precise.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
I would love to do stuff on camera. That's what I want to do. It took me a really long time to feel confident as an actor. I think, also, because there's a weird stigma about musical theater where we treat the men who do musical theater differently than we treat the women in musical theater.
I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise.
Evil or not, the recording industry kept Auto-Tune on the down-low. Cher's producer forced Auto-Tune to jump suddenly from one pitch to the next.
The way I see it, you have to take every chance you get because there may not be another one. You have to learn from your mistakes because nobody's perfect. You have to laugh, love & live every day as if it's your last.
I could see no position to say, 'I'm going to make a living as a writer.' But I went to classes for it; I read every play in 'Theater' magazine. I saw the second acts of everything on Broadway - I had a job as a CBS usher in New York City, and on my way home every night, I'd see what shows I could get into.
I do think that it's better for a musical to live its life first because if you see it on the screen, would you like to go to the theater after that? Probably not. You've seen it. And that's the mystery of a musical that hasn't been filmed. You're bloody meant to go there and buy your ticket.
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.
What I love about doing live theater and the same material night after night is... you can live inside the same words. There comes a great joy in that, in making it so clear because you've had the time to define it.
My own rapping skills are quite good, actually. You get this thing, I think it's called Songify or AutoRap, and you talk into them, and they auto-tune it and make it into a quite interesting musical number. And I got one where it builds it into a rap.
If you put lots of auto-tune on your voice on the album, people are going to be disappointed when they come to see you live. The imperfections make it better, more natural.
What is auto-tune? I don't even know what auto-tune is.
You know, when you see yourself on a big screen, I tend to watch from behind my hands. There is absolutely the regret. You always get that at the end of every project. That's what's great about theater: at least every night you get the chance to go out and re-offend. I'm endlessly disappointed, which is what propels me into the next project, probably, not to repair the damage but to kind of hopefully keep developing. Otherwise there's no reason to keep doing it, is there?
I'm a musical theater guy. That's where I came from. That's where I go whenever I have the chance. It's my first love.
My favorite thing to hear from people is, 'I left the theater and couldn't stop thinking about it.' You want your work to have an impact after they leave the theater. It's the equivalent of leaving a musical humming a show tune.
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