A Quote by Judd Apatow
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
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You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
Obviously, just on a visual level, as an actor, when you put on wardrobe and you look in the mirror, you're like, 'Oh, my God. This is great.' It instantly changes your posture and how you feel, and it does affect the performance as well.
That's a big important deal, the way people see you from the stage. Once in a while, I'd ask people, 'How did you enjoy the show?' 'Hey, you looked great.' But how did I sound? That visual look is very important to people.
I think one of the things that is important, for me, though a lot of people would disagree with me, is that you be founded in theater so that you understand what an audience is, what kind of an animal it is and how to play with it. How to have fun with it, how to sympathize with it, all the things that an audience is. I don't think you're going to find that out unless you do theater.
Self-censorship has become a part of me. I think because we live in a place where community is very important, family is very important, you feel the weight of how people look at you. Even though I might seem very modern and very liberated, I still have a lot of issues to deal with. I'm scared of how people look at me.
It is not nearly so important how well a message is received as how well it is sent. You cannot take responsibility for how well another accepts your truth; you can only ensure how well it is communicated. And by how well, I don't mean merely how clearly; I mean how lovingly, how compassionately, how sensitively, how courageously, and how completely.
One of the great things I learned from how cooperative theater is, you can't be too precious about your ideas.
Rock 'n' roll says, 'Hey, man, this is where you can be normal,' and then after a while you grow up and you go, 'Wait a minute. Oh, by the way, I learned how to do these cool things, but I never learned how to speak my mind. I never learned how to express myself emotionally. I should have been paying attention more.'
At United, they teach me about things off the pitch as well, how to deal with stuff with your family and how to be a man. That part is very important, not just the football side but off the pitch as well.
As a dancer I had worked with really hard choreographers, Jerome Robbins being the toughest. And you learned what it is to hit against a brick wall. And you learned pretty quickly to go around the wall or say, "I can't take this job."
In the eighties, I was fortunate to be one of the young art directors that Jerry Roach, creative director at JWT New York, took under his wing. He taught me how to use typography more visually, to push against design norms and not to rely on preconceived notions of what something should look like. I learned that nuance is everything and to agonize over the details. I have Jerry to thank for driving plenty of people crazy over the years!
I always kind of see how I want things to be better, and I'm generally not happy with how things are or the level of service that we're providing for people or the quality of the teams that we built. But if you look at this objectively, we're doing so well on so many of these things. I think it's important to have gratitude for that.
Jerome Robbins, to me, is the genius of a lifetime.
Breast cancer is not just a disease that strikes at women. It strikes at the very heart of who we are as women: how others perceive us, how we perceive ourselves, how we live, work and raise our families-or whether we do these things at all.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
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