So much about being a director is getting the show ready for that first preview audience. I have a lot of experience making events that only happen once; it's opening and closing night in the same three-hour span.
Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.
The way I see it, more people are wired with broadband from 9 to 5 during the day than watch TV at night. So therefore isn't the real prime time 9 to 5? Playing games at your desk - that's the new prime time, isn't it?
There are thousands of ragas, and they are all connected with different times of the day, like sunrise or night or sunset. It is all based on 72 of what we call 'mela' or scales. And we have principally nine moods, ranging from peacefulness to praying, or the feeling of emptiness you get by sitting by the ocean.
I wake up every morning, and I go to ballet class no matter what's going on the night before. That's my priority, and that's what makes me feel sane and not removed from the realities of my world.
I think 'In The Heat Of The Night' was one of the most influential films on me. Looking back now, I can see how influential it was on my screenwriting because here you have what looks to be a crime procedural, and it's actually a study in race and loneliness, and a perception of an era.
My main thing is I'm gonna go out there every night and give it all I got and just try to put on the best show I can. That's just the way I'm programmed and wired.
I think you should start the first 90 minutes of Raw with a Paul Heyman promo and the second 90 minutes of Raw with Brock Lesnar wiping out the entire roster. But then again, that's my vision for Monday Night Raw.
At one point in the mid-Eighties I shared a promoter with the Smiths. One night, we were sitting backstage when Morrissey burst in, utterly distraught, sobbing his heart out. Turns out someone had thrown a sausage at him on stage during 'Meat Is Murder.'
Women would rather go to their daughter's piano recital than stay all night at work, working on a proposal, because they're less ambitious.
Fiction, for me, is sort of a protracted way of saying all the things I wished I said the night before.
'Envy the Night' was my first stand alone, the first book I'd written in the third person and I loved the feel of that, and it was different but it was also the same. 'So Cold the River,' I knew, was going to be really different, and that's why I thought about doing it as a novella under a pseudonym, because I didn't want to damage my career.
I was working with the computer at university and playing jazz in the daytime, buying west-coast psychedelic and early Kraftwerk records in the afternoon, and playing folk at night. I was quite busy!
In a psychiatric hospital, a lot of people believe that people on TV are talking to them directly through the screen. I'm with about 500 of these people, and I'm on TV every Friday night. As I was queuing up for breakfast one morning, one guy nearly jumped out of his skin. My first thought was to go 'Woooo!'
You'd be playing in a pub in the afternoon. Then late at night, you'd be playing a club. You got into that habit: 'If we don't play, we don't eat.'
There seems to be a vulnerability at the networks in late night. They are losing more and more audience, particularly young viewers who are now looking at cable television. 'Tonight' is an old show. CBS has reruns, and having a public affairs series like 'Nightline' on ABC is a big mistake.
I do readings at the public library. I just did a benefit scene night for my old acting teacher.
I'd love to play Puck in 'A Midsummer Night's Dream.'
After I won the Pulitzer, there was this sense of, 'OK, that's enough for you. Now go away.' What I wanted was to keep writing, keep working. But no one would produce anything of mine they didn't think would be as big as 'night, Mother.'
Every Friday, my dad would rent three videos. Me and my brother would ask for something with guns or fighting, but my dad would say, 'Come on, think about it.' He'd choose more involving films like 'Pulp Fiction,' and at the end of the night, we'd agree that they were great.
