A Quote by Trey Parker
It's not like we have a formula, but I think one of the reasons this show has survived is that it has a big heart at its center. Other cartoon shows have people crap on each other and make racist jokes. But I don't think people tune in for that. I just don't think a show lasts for 10 years without a heart.
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I wrote an op-ed piece in The New York Times about the amazing effect of shared wonder - how I have an audience filled with people who you'd think would hate each other, people from every religious category, all at the same show at the same time. And it's an amazing phenomenon to watch this shared sense of wonder, where these people who really don't like each other - for good and bad reasons, reasons that make sense and that don't make sense - are in the same room, experiencing this unification.
When I think of Britain, I don't think of these lofty ideals which once held sway like the stoic upper lip. I think of girls on a Saturday night outside kebab shops stabbing each other with stiletto heels or guys smashing glasses into someone's face. I think of shows like Big Brother which celebrate people's discomfort and anguish or kids committing these terrifying happy slapping acts of brutality to each other at the drop of a hat.
I think people just like seeing friendship. I think people like seeing people who just drive each other up the wall, but at same time, can't live without each other.
When I went to California Institute of the Arts, I was classmates with a lot of like-minded weirdoes, some of who have gone on to create other cartoon shows-J.G. Quintel, 'Regular Show;' Pen Ward, 'Adventure Time.' We were all friends in school and pushed each other and made each other laugh.
I think the people like myself who are in the center ground of politics and who think that center left and center right can cooperate and work together. Who don't like this sort of insurgent populism because we think it's not really going to deliver for the people, I think there's a big responsibility on us in the center to get our act together. And to work out radical but serious solutions to the problems people face.
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 think, in general, this country makes a huge deal about nudity and not a big enough deal about violence. We're allowed to cut people's heads off on shows - but not allowed to show breasts or somebody breastfeeding or whatever. I think it's a big deal in America especially. But I think to each is own.
What is it that makes you want to write songs? In a way you want to stretch yourself into other people’s hearts. You want to plant yourself there, or at least get a resonance, where other people become a bigger instrument than the one you’re playing. It becomes almost an obsession to touch other people. To write a song that is remembered and taken to heart is a connection, a touching of bases. A thread that runs through all of us. A stab to the heart. Sometimes I think songwriting is about tightening the heartstrings as much as possible without bringing on a heart attack.
I think doing shows with other R&B artists like myself brings the attention to the crowd. You can't just do those one artist shows anymore. I don't like just me being on the show.
There are various factors that make a show, so if the shows of other actors did not work, it's not their fault. I don't think it is fair to take names or bring down someone because their show didn't do well.
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.
I think every show I do, whether I am doing eight shows a week of a Broadway show... I think, "that's a show I'll never get back"... I go home at night and I think to myself, "that was my favorite".
No, it's that fun we have. It's real. I'm so thankful they cast good, funny, interesting, warm, kind people in “Castle”, because we blend very well together. At this point it's like a family. We help each other. I constantly ask them: “What's funnier: if I do this or I do that?” And I don't think we care anymore about looking weak or unprofessional. We all just want the best for each other and for the show.
When people think of the South Side of Chicago, they don't think about where I'm from. It was sort of a pocket: this idyllic community of black people who took care of each other, knew each other, spent time with each other.
When Run-DMC came to the club, we saw how simple their show was - wasn't even a 10-minute show - and we, like, looked at each other and said, 'We can make records.'
I think I've learned how to be a better boss. I'm the one running the show now, and in the past, I've always kind of been looking at other people to make the decisions. I feel more confident to run not just my show, but behind the scenes, too.
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