A Quote by Jonathan Bailey
I think the idea of signing on to a sort of very commercial show and a show that is as expansive as this, that potentially could run and run, was something that I'd been wary of before, but reading Bridgerton,' it was a no brainer.
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I wanted to show that women could run, but I also wanted to kind of inspire the idea that ordinary people can run. I was like, boy, I feel so good when I run, if everybody could feel like this, this sense of joy and physical well-being and strength and autonomy you have when you run, how much better the world would be, you know?
I spent a year storyboarding and writing on a show called 'The Marvelous Misadventures of Flapjack' for Cartoon Network, which really taught me how to run a show. Or at least the idea of running a show.
I wasn't so sure about signing up for 'Law & Order.' I liked the show, but another TV series? I'll tell you, though, it's been great, and I had no idea how popular the show was.
I think the idea we had with Bridgerton' was very much in the early conversations, to do something fresh and exciting and entirely more fun, fast, funny and glamorous than has been done before in the period genre.
Think about Kennedy. Think about Carter. Think about Clinton. Think about Obama. They've all been in their forties and from outside Washington, or underdogs in one way or another. I just think that Americans are looking everywhere, saying, 'Hey, show me some authenticity. Show me somebody who's practical. Show me people who run things.'
I would be involved in a show that was something like 'Run's House'... that's a different kind of show.
There's something about that idea of looking up and hoping, and thinking, 'I'm good.' Some things, like show business, are absolutely subjective. People look at a TV show and think, 'I could do that.' And maybe they could do that. But they're not.
I think I've learned how to be a better boss. I'm the one running the show now, and in the past, I've always kind of been looking at other people to make the decisions. I feel more confident to run not just my show, but behind the scenes, too.
I give people on my team the opportunity to excel as well, and I think that's what continues to keep me ahead. I may not be able to show or do an interview; I give them the opportunity to run the show, and that has been working.
I remember when I had my show [The Chris Rock Show on HBO], I used to run my show. It was so hard to get people to bring sketches to me. No one had ever worked for a black person before. Even the black people hadn't worked for a black person. It literally took a month or two for everybody to know: I'm really running the show.
I think the thing that I wish somebody would ask me is just to ask about the business side of the radio show. I feel like I actually work very hard to make sure the business side of the radio show runs, and no one has any interest in how a public radio show is run. And rightly so.
My first professional audition - god, I've never told anybody about this - was for a test commercial, I think it was for Xbox. It involved me getting kidnapped by a granny who wanted to play the Xbox. It was very weird and I definitely had no idea what I was doing. I actually got the gig. It wasn't a commercial; it was what directors did when they wanted to show the company what they would do with a commercial.
I think it's really hard to say now what makes a show kind of sink or swim, and what creates longevity. For instance, I think that Survivor is a very well produced show. It's very simple, it's very elemental, and I think it gets into big issues. I think American Idol has been an amazing show for many, many seasons.
When you go to a show on opening night, or even the second performance, it is at the very beginning of what it will become. By the end of this run, the show will actually be what it is intended to be.
No show can be 'The Oprah Winfrey Show,' including 'The Gayle King Show.' I think she's very good but I think I'm very good too. I think we have different skill sets... but I don't think that I could do what she does and never have.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
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