A Quote by Robert Englund
Gosh, I'd like to direct Our Town on stage.
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I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
When you own an apartment in NewYork, it's important to know what's happening in your building. Each building runs as its own little municipal town. Much like you might be interested in knowing what is happening in your town because it has a direct effect on the value of your property.
I would like to direct. What goes on behind stage is very interesting.
Some people think that confidence is something that some people just have. Even though I may look confident strutting in a two-piece on a stage, there are days when I'm so nervous, or I feel like, 'Oh my gosh, I don't know if I can do this.'
When I'm about to go on stage, and I look out and just see the fans filled out in the arena, all pumped up and screaming - that gives me butterflies! I just love that feeling, and I'm like, 'Oh my gosh, it's gonna be a great show!'
Is there anybody out there that will point to Hillary Clinton and say, "Gosh, my life is so much better because of her"? Why aren't they on stage?
A debate actually is a policy issue but I will say this - gosh, if you guys ask one more mean question, I may have to leave the stage.
It's easier to direct. If you direct something poorly and re-shoot it the next day, stage it better, make it work better, you have a lot of possibilities. You can edit it in certain ways so that it works, but there's no getting around weaknesses of the script.
For me, every time I step on the stage it feels like a battle is about to start. It's not like we're going on stage to fight against our audience obviously, because for me, when I go on stage, I'm always trying to reach a new level of how am I going to make today a great night for everyone that's present.
I was in town working for Ring of Honor; my wife was in town. At that point in my life, I thought, 'When else am I ever going to come to WrestleMania?' I sat way up high in the stands, but seeing a couple of friends on that big stage, you start to think maybe this is possible.
When people get up on the stage and say, "I've got AIDS," or "I'm in recovery," gosh, it's hard for them. It's like that story touches every person's story. You know, they open their entire humanity up. Storytelling is very important in life. Telling the truth is critical. It's like, again, the melody. The melody of jazz music is the truth, for me.
As scary as it is, I like making real, direct eye contact with people from the stage. In a sense, it's like modeling: that feeling of locking in and projecting some kind of emotion to try to captivate people.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
I don't think one should ever come to my stage of life and have to look back and say, Gosh. I wish I hadn't spent all those years doing that job I was never really interested in.
If you look at any sitcom that you watch, if it takes place in, say, a small town in Massachusetts, and it's about the dynamics of the people in that town, the showrunner probably grew up in a town like that, witnessed things, and created content.
A town is a thing like a colonial animal. A town has a nervous system and a head and shoulders and feet. A town is a thing separate from all other towns alike. And a town has a whole emotion. How news travels through a town is a mystery not easily to be solved. News seems to move faster than small boys can scramble and dart to tell it, faster than women can call it over the fences.
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