A Quote by George C. Wolfe

The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster. — © George C. Wolfe
The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.
If all you have is satire, your show will close. Even if all you have is comedy, your show will close. The hardest thing is not making people laugh: the hardest thing is building an emotional story. Any child can make a group of adults laugh.
What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.
The hardest part about growing has been making sure we can support the community in the same ways that we were able to when TwitchTV was just starting out.
Sometimes the hardest thing to do in television is stick to your guns. If you're making a show, you make the show.
I was a monster. I don't deny it. I wasn't a monster until a few years ago. But you have to be a monster to survive in New York City. New York City doesn't give a damn about violence.
Every now and then I have to teach directing. The thing about the theatre is that the most important thing you can do as a director is to make sure that everybody is in the same world - you have to create the world and make sure everyone buys into it.
I think the hardest thing about making music now is being a great dad at the same time. There's an insanity that goes with writing - a mad scientist thing that you have to go through - and sacrificing a kid's upbringing to do that is not an option.
I think the hardest thing about doing an accent, especially with a Missouri accent, is making sure that you're not mumbling with the words so your diction is clear.
Part of me is super private, and I'm put in this position where it's scary sometimes because you never know what people are gonna think. It's just making sure that you show what you want to show and making sure that you're presenting your best self always and making the right decisions.
A flop is often the result of the fact that each of the talents involved, while working on the same project, may in effect have been working on a different show from all the others. If all contributors do not share the same vision of the evening, the end product will not evince the harmony of diverse elements-the seeming inevitability of book, score, and staging-of a good musical.
Baseball is a set of individuals doing their thing in the same team, but it's much more individual. In basketball people are making real time decisions about who gets the ball, do we trust everybody out on the court, and the analytics certainly don't show you all those subtle dynamics, but they're very important.
Making a musical television show was always the ultimate dream. But I really didn't think it would ever happen. Because who's going to make a musical television show?
That's why I'm so successful because peace is my main thing, it's not about money. It's about making sure everybody is having a good time and loving and living and enjoying life.
In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.
The hardest part about making movies is staying the exact same weight every day and looking the same.
Lee May's about the same age as me; he's got about the same stats. So how come he's making about one-eighty, two hundred thousand, and I'm the best damn paid player in the game? I'll tell you why: Because I put the meat in the seats!
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