A Quote by Paolo Nutini
I just want people to leave a show and go, 'That was the most rockin' show I've ever seen.' I hope people can just roll with me a little bit - you know?
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I think the most important thing is to leave people inspired to do something, to realize their purpose in life. I want people to show love to each other. What I love about performing live, and especially in smaller intimate venues, is the real connection you have with the fans that you can't get in a studio or a big arena. It allows me to have real moments with my fans. I just want the night to be filled with good energy, love, and for people to leave the show happy.
You forget that sometimes comedy is just a big night out for people. Almost every show, people come up to me and go, 'This is the first comedy show I've ever seen,' so you want to do well. If you do horribly at somebody's first time seeing live stand-up, well, you've not only tainted yourself, you've tainted a whole art form.
There are people in government who don't want other people to know what they know. It's just another example of elitism. And I spit on elitism. Show me an elitist, and I'll show you a loser.
You show up in Paris, and on the drive from the airport to the hotel you're like, 'This is so cool! I want to see something! I want to go to the Eiffel Tower!' And then you leave the next morning. You think, Oh, I didn't get to do anything. I tell people: I've been just about everywhere, but I've seen nothing.
I used to play Saturday night shows with different little groups. If I could get a show, I would do it. I used to do mad things - I used to go and do these shows and go on my knees and roll on the ground - when I was 15,16 years old. And my parents were extremely disapproving of it all. Because it was just not done. This was for very low-class people, remember. Rock & roll singers weren't educated people
Has anyone seen me on Letterman? Two million people watch that show and I don't know where they are. You might have seen this next comedian on the Late Show, but I think more people have seen me at the store. That should be my introduction. "You might have seen this next comedian at the store," and people would say "Hell yes I have!"
It's a combination, I think they want to know - it's for every show, which is I think networks want to know that you have a vision for where the show could go to make sure that it really is a show, that it's not just a one-off forty minute pilot, that it's an actual series.
You know what I think the guy who reviewed the live show for Pitchfork suffers from? Shy/asshole confusion. I'm not an asshole. I don't think I have to prove that to anyone, but I'm just putting that out there. I just think people should know that I'm not trying too hard. I think some people are just bitter that they ended up reviewing the show rather than playing the show, perhaps.
I've done history; I've done biopics, I've done a little bit of comedy. I just want to keep going and show people that you can't typecast me, you can't pigeonhole me.
To go from working with a group of people in a sketch-comedy show on a small network, where it was all about just creating funny stuff, to being on a network show, and the pressures of that, and getting to know the new people who were involved in it. There was a learning curve for me. But it was an education.
I had seen Orange Is The New Black show on Netflix and the first thing that came to my mind was, "Why am I not on this show? It's just irritating me right now." So I made some phone calls and told them, "I want to be on your show." And they found a spot for me.
You can really bring so much more to rock'n'roll. Rock'n'roll is the most accepting, is the most fertile ground for creating hybrid forms of music and hybrid forms of show, if you draw from many, many different wells. It's just unfortunate so many rock'n'roll stars only bother to learn how to play like Led Zeppelin and/or the Rolling Stones and that's what you get, disc after disc and show after show.
There are not that many people who can say they have been on a show long enough to leave it. Usually, you don't have a choice. The show gets canceled. There are very few people who live in the rare air of being able to leave a show while it is still in production.
'Tommy' was the first show I ever saw on Broadway. I was 14. It wasn't 'the show' that started that flame in me or anything, but it did excite me in a way no other show had. I'd never seen a show so brilliantly cast and directed.
What people don't know about me is that I'm a pretty good businesswoman. Yes, I do this little ol' game show, but I know the show isn't going to last forever, so I've gone into different ventures. But I don't want to sound like I'm bragging.
I think there's something about supernatural shows that people see and just want to put me in them! I don't know. I just finished another show - 'The Nine Lives of Chloe King,' with Skyler Samuels, who was my girlfriend in 'The Gates' - and I play another supernatural character on that show.
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