A Quote by LaToya Jackson
When I finally decided to do the show, I only had two weeks to learn the choreography and the songs in French.
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We did a different show every night. We'd open a show, and then two weeks later we'd open the next show. And two weeks later we'd open the third show until we had all eight running. And it was just one of the richest experiences I'd ever had in my theatrical life.
We just wrote songs that seemed good to us. We wrote the album in like two weeks. We could have had more time, but we accomplished what we needed to in the two weeks.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I've done some movies before when you have months, or three weeks at least, to train and to learn choreography.
Through the years I've accumulated this big bag of songs. When I go out I do close to two hours, and it's all just attitude - and up-tempo. I've accumulated so many of those types of songs now that the show just gets off with a bang, and I'll only do two or three ballads the whole show.
I put on about 20 pounds to play Washington, and that was really enjoyable. That's probably the most fun I've had preparing for a role. There were only two weeks between 'Sons of Liberty' wrapping and 'Complications' starting, so I had, basically, two weeks to drop 20 pounds, and that was the opposite of fun.
We had just played a sold-out show and it had been a fun night when we heard the news. It brought everything back to reality. He was a brilliant guy. He was an aerospace engineer and an entrepreneur. We were just starting to write new songs two weeks after he died. We were still grieving. So that was naturally a big subject matter for the album.
When you put a new show out, you always have a few kinks that you need to iron out, and you need to dial your show in. You figure out over a couple of weeks what songs work well together and what songs may not have the impact you thought they would at that spot in the show.
Soon after Donald Trump was inaugurated, I got a letter from France's interior ministry informing me that I was now French. By the time it arrived, I'd been French for nearly two weeks without even knowing it.
I took an estimated two thousand years of high school French, and when I finally got to France, I discovered that I didn't know one single phrase that was actually useful in a real-life French situation.
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.
If you had started doing anything two weeks ago, by today you would have been two weeks better at it.
When I was invited to sing with Pavarotti, I had about two weeks to learn Italian.
When I landed in L.A. in early '89, William Morris decided to take me on to see if I could get any jobs. I was cast in a TV movie called Protected Surf, and made $30,000 in four weeks, and I decided I needed to take acting seriously, because I had never made that much money in a year, much less four weeks. That's when I decided I thought I could make a career out of it.
I never really decided to be an actress, but I got an agent, was called back on every show I auditioned for, and finally decided I was meant to be an actress.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
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