A Quote by Mike Nichols

For a director, a musical is a special kind of hell. — © Mike Nichols
For a director, a musical is a special kind of hell.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
There is not a special place in Hell for people who didn't support Sarah Palin. Do you know what I mean? It's ridiculous. And there is certainly not a special place in Hell for women who don't support Hillary Clinton.
The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.
When I auditioned to be part of the "This Is It" Tour, I didn't think I was going to get in. I didn't think it was for real at first, when I got the message on MySpace from the musical director to come in and audition for him. I came in and I played for the musical director, and that night Michael Jackson came in and sat down on the couch and I played "Beat It" for him. I just practiced as much as I could to make sure it was perfect.
I guess whatever the director's energy is is kind of contagious on set, because, um, you know, it's a hierarchy, and we're all kind of looking to the director for guidance.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.
No, there are no special places in hell. Hell is a democracy.
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
I've loved musical theater ever since I was a kid. My mother's a pianist, and my grandfather was an amateur theater director and stand-up comic. And I was an only child. And I loved attention. So from an early age, my family was teaching old musical songs.
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
I remember on the 'Midnight Special' seeing a video with Meat Loaf. I think it was the 'Bat Out Of Hell' video. It was like this raging huge fat guy, and he's really sexual, and he's really sweaty, and it's really kind of sexy. Like, a fat guy can get the chick. I still am a big fan of 'Bat Out Of Hell.'
I mean, it feels like a homecoming in a really wonderfully comfortable place to be - the same director, the same musical director, my same dressing room! [laughs] It's a great place to build something with freedom.
There's a special place in hell for what some people have done but there's also a special place in God's heart for their forgiveness.
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