A Quote by Scott Ellis

'You Can't Take It With You' has eighteen people onstage at one point. Musicals entail a larger collaboration, and I love that. — © Scott Ellis
'You Can't Take It With You' has eighteen people onstage at one point. Musicals entail a larger collaboration, and I love that.
Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.
To me, getting to do music and videos, you work on a character. Being onstage is acting; you get to be larger than life and larger than yourself.
I love collaboration of all kinds, and I love the way that collaboration pulls me into directions I wouldn't go in if I was working on my own.
There are many ways to love someone. Sometimes we want love so much, we're not too choosy about who we love. Other times, we make love such a pure and noble thing, no poor human can ever meet our vision. But for the most part, love is a recognition, an opportunity to say, "There is something about you I cherish." It doesn't entail marriage, or even physical love. There's love of parents, love of city or nation, love of life, and love of people. All different, all love.
I love my life, and I love the people that I'm connected to and I love my family and I love what I do, I'm passionate about performing and being onstage. That and meditating and hugging a dog are the only three times I am absolutely sure I will never get a depressed moment. So if I could go from dog-hugging to meditation to being onstage, I'd be good.
Some people love being onstage and really open up, and I'm sort of the opposite of that. I don't crave the spotlight. I'm still not comfortable even talking onstage.
I was excited to get the opportunity to sing something in a movie 'cause I love musicals and I would love to be able to do more movie musicals, in the future.
The whole point of collaboration is that you give and take from each other, and that's how you create things that are totally new.
When I was growing up, there were so many musicals you could watch. I like the fantasy of musicals and I love music.
I love musicals. I grew up on musicals.
I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
Seen from the point of view of the composer, the most nonsensical practice is that of casting people in musicals who are unable to sing. No one would cast a dancing part with someone who cannot dance sufficiently to come up to professional standards. The same is true of acting. But when it comes to singing, more often than not it is amateur night. . . . Either musicals should be written for specified performers in the first place, or they should be cast with people who are adequate to its dancing, acting and singing demands.
Filmmaking is such a collaboration. At a certain point, I suppose you do have to let go and trust the people you're working with.
When a dancer comes onstage, he is not just a blank slate that the choreographer has written on. Behind him he has all the decisions he has made in life. Each time, he has chosen, and in what he is onstage, you see the result of those choices. You are looking at the person he is, and the person who, at this point, he cannot help but be Exceptional dancers, in my experience, are also exceptional people, people with an attitude toward life, a kind of quest, and an internal quality. They know who they are, and they show this to you, willingly.
I grew up in a time when the only musicals were animated musicals because nobody wanted to see people to break into song.
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