Show Quotes
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When I first got into this biz called show, I decided I was going to change my name, make it more Hollywood. And you know how you do that? You take your middle name and the first street that you ever lived on. So when I first started, I actually went by Sue Rural Route 2.
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TV is an interesting business. You audition with a couple of little papers in your hand, and if you're lucky, you get to say those lines in the show. Then, once in a while, you get to do more.
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We tend to watch a whole show once in a while and then see the beginning of most of the shows. It’s kind of insane the way they start the show, almost at full throttle. And you’re thinking, “How do they get through the rest of the show?”. But it does actually go further up from there, which is crazy.
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I had tried to teach her that nobody should be able to see when you were scared. That nobody should be able to tell when you were uncertain. That you shouldn't show it when you loved someone. And that you smiled with particular affection at someone you hated.
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As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.
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I have a personal ritual. Just like 10 minutes before a show, I'll open a beer, just so it feels like I've just arrived at a party. I have a few sips, then we go on stage.
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When people leave my show, I want them to say, 'I've never seen anything like that in my life ... It's amazing. He's the greatest entertainer in the world.'
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I wanted my book to make people cry, but I feel like I'm the only person who my book is going to make cry, if they show me the sales numbers.
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The best part of my new job was finally running my own show and no longer having to answer to people like Chris Kimsington.
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Surveys show that surveys never lie.
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I met my wife, Doreen, who was a dancer in the show.
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In general in comedy, there are fewer people making a ton of money and a lot more people making a living. For me, the goal is just being able to make exactly the show I wanted to make.
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When the show starts, I am in my SpongeBob stance, and I walk like SpongeBob, and the first step that I take, I am SpongeBob.
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None make a greater show of sorrow than those who are most delighted.
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When all your energy gone! When you have nothing left! That's when it's show time!
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As you continue to work on a show, if I still feel inspired, and I feel they are making exciting choices, then our enthusiasm remains. This is not a perfect science. It's an evolutionary process.
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We'll never do a show without honouring Steo in some shape or form, and that's really important to us.
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Nothing runs forever. How you handle it, the most important thing is how you respect your audience, how you respect your cast, and being incredibly sensitive to how you wrap up any show when it ends a successful run.
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Life is not for show, but for real.
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If they'll have me and the show does well, I could do this another two or three years.
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Many shed tears merely for show, and have dry eyes when no one's around to observe them.
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I couldn't do my show without spending 12 years on the streets of Humboldt Park. It made me a better interrogator. Still, if they had taken me out of my squad car and gave me a show, I would've been terrible. But on 'Springer,' the spotlight was on Jerry and I got to grow up within the show.
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I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."
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A show is going to be good and fun to work on, if the research is interesting.
