A Quote by Marsha Norman
If someone wants to say 'I love you' in a straight play, they say it, and then it's the other person's turn to talk. But in a song, you can sing about it for another three minutes. The musical form has that unique opportunity to express at length what joy really feels like.
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My favorite song that I wrote is 'Love Line.' This was my first song that I wrote lyrics for, and I really wanted to express the feeling when you're in love and hoping the other person feels the same way.
You know how you always expect someone to think the same as you and then your like, really shocked when they don't? Like when it's a cold day and you turn to the person next to you and say, 'Its so cold, aren't you cold?' and then they say 'no.' It's kinda like, 'what, are you a communist?'
Every round I have three little targets. Maybe it is just 'talk to myself properly' or 'stand up straight on the greens.' One day I might say, 'Don't talk to anyone.' On another I'll be a lot chattier. Or I might say, 'smile all the way round.' Little things. But little things turn into bigger things.
When I picked up guitar, it wasn't like, 'OK, I'm going to be Kenny Chesney.' It was like, 'I want to play a chord,' and then it was like, 'I want to play another one, then play a song, then sing while playing the song.'
Marvin Gaye said there's a song inside of me and I can't get it out. And I know it's in there, and I can feel that it's in there, and I can't get it out. There's so much that I want to say, and I haven't been able to figure out how to say it in my art. I can only say it in ham-fisted, clumsy, nonpoetic ways, and I'm trying to figure out how to talk about life and talk about love and talk about pain and trials and tribulation in an artistic form.
I often hear actors say during their interviews: 'I want to play a crazy person, a murderer, or someone who's on edge.' But that question scares me. I mean, of course there are characters I'd like to play, but I can't really say specifically who they are. It's much too hard to play a convincing normal person as it is.
When we kind of get caught up in the minutiae, the details that make us all different, I think there's two ways of seeing that. There's an opportunity to see the texture of that person, the characteristics that make them unique. And then there's an opportunity to go to war about it and to say that that person is different from me and I don't like you, so let's battle.
It's a dream come true, and with this music, with this Rossini, it's unbelievable how to express the joy and express the joy of the situation and the joy to play this music, to sing this music, it's really fantastic.
The telephone lets anybody say what he wants to the person of his choice; he can conduct business, express love, or pick a quarrel. It is impossible for bureaucrats to define what people say to each other on the phone, even though they can interfere with - or protect - the privacy of their exchange.
The pop-star thing bores me because it's somebody programming someone else. Stand over here, sing that, no, sing it like this, talk like that, when they ask you this, don't say that, say this, hold that, drive this, stay here, live there - you're not even a human being. You're a puppet.
If you are not being bullied all I would say - cause I like to talk about the other side of it as well - is you know, be someone that nurtures, and if there's someone in your class that maybe doesn't have a lot of friends, be the person that sits with them in the cafeteria sometimes; be the bigger person.
If a person was accused of being a racist when he was young - he said some racially insensitive thing or someone had him on tape calling someone the n-word or whatever - and then you fast forward and he feels, Oh, back then I didn't say this or that. He's not thinking about the person that he hurt when he said what he said, or however it came out, or the effects that it could have had. He's not thinking about it. He's thinking about his own self and how he feels.
So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.
I like seeing someone that can sing jazz and then flip over and sing a pop song and then sing a rock song.
Sometimes the show needs that kick in the ass so being able to sing a Nirvana song kind of takes it there. I've grown up putting on extravagant shows with Girl Talk so when I'm playing I like to go nuts. After 30 minutes of pointing and clicking it's nice to scream into a microphone for three minutes.
I love doing a television show. It just always feels like it's a little while before you find something that feels unique and that feels like a character that you really want to play for awhile.
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