A Quote by Sal Vulcano

We always try to evolve the show, and to break new ground within the universe of our show. — © Sal Vulcano
We always try to evolve the show, and to break new ground within the universe of our show.
Every season we try to do something new. And not for gimmicks. We feel the show has to evolve and keep changing.
No, the seventies was a totally different sensibility and that allowed us to break new ground as a cop show.
The ROH guys looking at the New Japan guys coming over, we're just psyched. We think, "oh great this is just going to make our show even better." The respect level with New Japan and ROH is at an all-time high. And anytime we get a company like New Japan Pro Wrestling on a ROH show, it just benefits our show. It has everybody all jacked up, ready to do the best we can like we always do.
Each week the machine is spitting out a number for a new person or a new world within New York that you get to know. And the idea from the beginning was that some of the characters would stick around and become part of the lives of the show, and the world of the show itself will continue to grow.
People try and make it a big deal, but a show's a show, work's work, if you haven't wrestled in New York in a couple months, it's always good to take a booking there because there's a lot of great wrestling fans up there.
The way I try to explain it the best is that if Critic A from publication A hates our show, and Critic B from publication B loves our show, what are we supposed to do with that? We have to just respect everyone's opinions and go on making the show we want to make. I've never worked on a show that was altered by critical reception. You just can't afford to do that. So in that regard, it's actually no different that working in theater. It's just a lot more voices.
We tried to do a show once every three weeks to a month. We'd always do a new show. It was not successful. It did not become the Matt & Ben show, but it taught me what I like to do as an actor and what I like to do comedically.
When I finally got my break in TV, as a staff writer, I always wanted to be at the top of that pyramid. I always wanted to make the decisions. I always wanted to be the one that was saying, "This is what the show is, and this is what the show is not. This is where we're going. It's going to be this kind of series." It was just something I always had my eye on, when I started in the business.
For me, a show's a show. I try to put on the best show I can for whatever audience or time slot I get.
I never want to play a show where it feels overly programmed, processed, and all that. For anybody that comes to one of our shows, the goal for me is to make sure that's their show. That nobody else is going to see that show ever again. You know what I mean? I try to make it different every day.
Photographers want to reinvent you, to take you somewhere else, to show you in a completely different way. They look at your previous work, and try to figure out what they can do to show a new side of you.
I like being from a city that is not entrenched in show business. When you're in New York City or Los Angeles, even if you're not dealing with show business, there's still this sense that it's the center of the universe.
I think we all have great opportunities individually but collectively our unit is so much bigger. Collectively our unit is something I've never seen on television. I don't look at our show as a basketball show. I look at our show as a sports and entertainment show.
You know, 'The Golden Girls' was a very unusual show to start on. I was young, and it was a show about old people, and it was a very traditional show, but it was also an amazing training ground for a joke-writer. It forced me to learn those skills.
Somebody said, 'Get your agent to call the new Bob Cummings show. They're looking for a funny lady.' Within three hours, I had the job. That was January 1955. I had such fun with that show.
Artists have to show us what is not going well within the person and within the society, not try to cover it up.
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