A Quote by Jenny Packham
I felt my design point of view was more welcomed in New York, that I could show my collections in the way I wanted to show them.
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I've been in rooms where the creator has sold a show and then felt like the network didn't buy the show they wanted. They bought a show they thought they could craft into the show they wanted.
It's about being open to what comes your way. I came to New York and saw 'Spelling Bee.' I said to myself, 'That's the greatest show ever, and I can't believe I'm not a part of it.' I felt the only way I'm going to get to be a part of something that good is to live in New York. So I moved to New York and ended up in 'Spelling Bee.'
We wanted to impress the crowd so much. The city has done so much for us and welcomed us right in, and we just wanted to give them a good show and show them that we're going to play for them. I think guys just had a little bit of jitters.
My show is not all about the cerebral palsy, but it definitely comes from that point of view. I tried to do my show from a Southern belle point of view, but that didn't work quite right.
From a linguistic point of view, you can't really take much objection to the notion that a show is a show is a show.
A show can be artistically successful; a show can be financially successful; a show can be successful by the transformative experience the audience is having; a show can be successful from the point of view of what is experienced by the cast and the company on a daily basis.
I wanted to show a different side of ourselves. I wanted to see in what ways I could explore something new. I felt like working on a double record would give people a lot to have.
'Power' is not a black show. It's not a white show. It's a New York show.
At first we didn't have a lot of access to New York City, but very quickly, I think people recognized if you were on the show that was a good thing. We always saw the show as a love letter to New York City.
They're the bigots and they're the intolerant ones. There is a way for them, if they wanted to convey a message to the new administration, there was a way to do it that they probably could have been hailed and applauded, but doing it the way they did it totally backfired because it's what you say, it didn't show respect, it seemed taking advantage of an opportunity and so forth. And it wasn't effective.
I just wanted to show the migrants as complex humans with flaws and weakness, with good and bad things, and show that they're parents and family men. I wanted to show them with everything, as they are.
'Northern Exposure.' I loved that show; I loved the way it was able to have episodes where somebody finds a woolly mammoth, he calls the museum in New York, they send a guy out, and the mammoth's gone because someone ate it. To me, that was everything I ever wanted to do. That show mixed emotion, humor and the surreal all at once.
The Party leader at the time, Jiang Zemin, wanted to show the world China's new status. And in winning the bid, the leaders could show the people how strong the government was. Plus, the leadership wanted to use the Olympics to strengthen nationalist sentiment.
Vegas is definitely a new challenge, but I wanted to be able to put on a different type of show. You get to do so much more when you don't have to put your stage in trucks after the show every night - we got to build a venue specifically for my show. It's going to be more like a party than a typical concert.
You can count on one hand the white rappers that have made it. So I just wanted to show the point of view of an actor in Hollywood, because what could be more soft than that. Rapping about auditions and acting and stuff. I thought it was just uncharted territory to clown on, so that pushed through with Dirt Nasty.
Sam's light-cycle, the car, and the jets are new of course, and other stuff. The new ones are sleeker and so contemporary, that if you could put them in a car design show they would hold up.
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