A Quote by Harold Prince
When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.
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My mother said I should have a 'change of scenery.' The word scenery made be think of a play. And as we were driving around, it made sense that way. Because no matter how much the scenery changed, we were still on the same stage.
I have looked on scenery as a strange and on scenery more grand, but on scenery at once so strange and so grand I have never looked and probably never shall again.
I have come to see the nonsense of attempting to describe fine scenery. There is no such possibility. If scenery could be adequately reproduced in words, there would have been no need of God's making it in reality.
The other thing is that when people mention computers - and I'm pretty much the same - they find it hard to comprehend that there's a performance there. They look at it as something that's just been made by a computer but in a way the difference is that when you make a normal film - and I'm simplifying it here - you put on the make-up and you put the scenery in before you start shooting, but with this you still perform in the same way but then you put the make-up on after, along with the costumes and scenery.
'Heathers' was probably the first time when I started to notice that people were opening doors for me and giving me tables at restaurants, regardless of what I was wearing. A whole world opened up to me that was shocking and weird and different, and I enjoyed it, and, you know, I took great advantage of it at times.
There were doors that looked like large keyholes, others that resembled the entrances to caves, there were golden doors, some were padded and some were studded with nails, some were paper-thin and others as thick as the doors of treasure houses; there was one that looked like a giant's mouth and another that had to be opened like a drawbridge, one that suggested a big ear and one that was made of gingerbread, one that was shaped like an oven door, and one that had to be unbuttoned.
We were 15 minutes into it and nothing was happening; I thought, well, that's not going to work. Then all of a sudden everything clicked. I don't know how long it took us, but I would just show up at Alison's [McGhee] office. She would type and we'd just kick it back and forth. Writing is so scary for me, such a lonely endeavor, and it became a wonderful thing to show up and have somebody else go through it with me. It was actually a wonderful experience.
I also grew up building theatrical scenery. I spent many years building scenery as a large part of my income and that allowed me to really develop my shop skills.
I would've been a really good costume designer because, basically, my clothes were like costumes, and I wanted to be a dancer, so there's all of that tulle and color.
Costumes and scenery alone will not attract audiences.
There's another aspect about the Seventies. Blazing Saddles, as wonderful as it was, sort of hurt the Western. It made such fun of them, that you almost couldn't take them seriously from that point on. That's why only Westerns that had the stink of Watergate or Vietnam could be taken seriously. There were so few Westerns made since then, from the Eighties on, that the few directors who did were so pleased with themselves and so happy to have the opportunity that they got lost in visuals, they got lost in the vistas and the pretty scenery.
I would never go to a place and live there because the weather was good or the scenery was beautiful or the architecture was wonderful. I would only go because the people are kind, and in America, everybody's your friend and happiness rains down from the sky.
Terrestrial scenery is much, but it is not all. Men go in search of it; but the celestial scenery journeys to them; it goes its way round the world. It has no nation, it costs no wearinesss, it knows no bonds.
I needed a change of scenery, and it feels good to have a change of scenery. And what a great locker room the 49ers have here. I'm just trying to come in and bring even more positive energy and bring another spark to this offense.
An acting assistant stage manager in a theater in Canterbury, a rep theater. A small wage but just enough to get by on, and I made props and I walked on, and I changed scenery, and I realized that I just loved it.
An acting assistant stage manager in a theater in Canterbury, a rep theater. A small wage but just enough to get by on, and I made props, and I walked on, and I changed scenery, and I realized that I just loved it.
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