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Set Designer/Architect David Rockwell | THEATER: All the Moving Parts


>>I AM PATRICK PACHECO.>>I AM PATRICK PACHECO.
COMING UP ON “THEATER: ALL THE COMING UP ON “THEATER: ALL THE
MOVING PARTS. ” MOVING PARTS. ”
I TALK TO BRILLIANT ARCHITECT I TALK TO BRILLIANT ARCHITECT
AND SET DESIGNER, AND SET DESIGNER,
DAVID ROCKWELL. ♪ [THEME MUSIC] ♪>>HELLO AND WELCOME TO>>HELLO AND WELCOME TO
“THEATER: ALL THE MOVING PARTS.” “THEATER: ALL THE MOVING PARTS.”
I AM YOUR HOST, PATRICK PACHECO. I AM YOUR HOST, PATRICK PACHECO.
DIRECTING THE SPOT LIGHT TO DIRECTING THE SPOT LIGHT TO
THOSE ARTISTS WHOSE COMMITMENT THOSE ARTISTS WHOSE COMMITMENT
IS AS INSPIRING AS IT IS IS AS INSPIRING AS IT IS
PROFOUND. PROFOUND.
AS AN ARCHITECT, DAVID ROCKWELL AS AN ARCHITECT, DAVID ROCKWELL
HAS DESIGNED MUSEUMS, AIRPORT HAS DESIGNED MUSEUMS, AIRPORT
TERMINALS, HOSPITALS, AND TERMINALS, HOSPITALS, AND
HE IS THE COLLABORATING HE IS THE COLLABORATING
ARCHITECT ON THE HALF-BILLION ARCHITECT ON THE HALF-BILLION
DOLLAR NEW YORK ART CENTER DOLLAR NEW YORK ART CENTER
CALLED “THE SHED.” CALLED “THE SHED.”
BUT DAVID‘S FAVORITE PLAYGROUND BUT DAVID‘S FAVORITE PLAYGROUND
IS THE THEATER AND HE’S POURED IS THE THEATER AND HE’S POURED
HIS HEART INTO DESIGNING SETS HIS HEART INTO DESIGNING SETS
FOR SUCH SHOWS AS “HAIRSPRAY”, FOR SUCH SHOWS AS “HAIRSPRAY”,
“KINKY BOOTS,” “THE NORMAL “KINKY BOOTS,” “THE NORMAL
HEART,” “KISS ME, KATE,” AND HEART,” “KISS ME, KATE,” AND
“TOOTSIE” — “TOOTSIE” —
WELCOME DAVID TO “THEATER: WELCOME DAVID TO “THEATER:
ALL THE MOVING PARTS.” ALL THE MOVING PARTS.”
YOU ARE A MAN THAT NEVER STOPS YOU ARE A MAN THAT NEVER STOPS
MOVING. MOVING.
WHAT IS AMAZING AS YOU AS AN WHAT IS AMAZING AS YOU AS AN
ARCHITECT AND A SET DESIGNER IS ARCHITECT AND A SET DESIGNER IS
THE CENTURIES OLD PERMANENCE THE CENTURIES OLD PERMANENCE
OF ARCHITECTURE AND THE OF ARCHITECTURE AND THE
FLEETING IMPERMANENCE FLEETING IMPERMANENCE
OF THEATER. OF THEATER.
WHAT MADE YOU THE ABILITY TO WHAT MADE YOU THE ABILITY TO
CREATE THESE DEEP AND PROFOUND CREATE THESE DEEP AND PROFOUND
THINGS ABOUT THE THEATER? THINGS ABOUT THE THEATER?
>>NICE TO BE HERE.>>NICE TO BE HERE.
[LAUGHTER] [LAUGHTER]
>>WHAT I REMEMBER, SORT OF>>WHAT I REMEMBER, SORT OF
THE SENSE MEMORY OF REALLY THE SENSE MEMORY OF REALLY
POWERFUL EXPERIENCES AS A KID POWERFUL EXPERIENCES AS A KID
COME FROM THE THEATER. COME FROM THE THEATER.
AND THEY COME FROM BEING PART OF AND THEY COME FROM BEING PART OF
THE THEATER AT THE COMMUNITY THE THEATER AT THE COMMUNITY
THEATER LEVEL AND GOING TO THE THEATER LEVEL AND GOING TO THE
THEATER AS A YOUNG KID WITH MY THEATER AS A YOUNG KID WITH MY
FAMILY. FAMILY.
WHAT COMPELLED ME ABOUT IT WAS WHAT COMPELLED ME ABOUT IT WAS
THE SENSE OF INSTANT COMMUNITY THE SENSE OF INSTANT COMMUNITY
AND THE IDEA THAT THERE WAS THIS AND THE IDEA THAT THERE WAS THIS
CONNECTION. CONNECTION.
I FOUND THAT VERY POWERFUL I FOUND THAT VERY POWERFUL
GROWING UP THAT THE SLEEPY GROWING UP THAT THE SLEEPY
LITTLE SUBURB IN THE SUMMER, LITTLE SUBURB IN THE SUMMER,
EVERYBODY WANTED TO PLAY EVERYBODY WANTED TO PLAY
TOGETHER AND COLLABORATE. TOGETHER AND COLLABORATE.
WHEN I WAS 12, WE MOVED TO WHEN I WAS 12, WE MOVED TO
MEXICO AND THAT REALLY MORPHED MEXICO AND THAT REALLY MORPHED
INTO VERY NATURALLY A LOVE OF INTO VERY NATURALLY A LOVE OF
PUBLIC SPACES AS OPPOSED TO THE PUBLIC SPACES AS OPPOSED TO THE
JERSEY SHORE. JERSEY SHORE.
THAT WAS REALLY LIFE CENTERED THAT WAS REALLY LIFE CENTERED
AROUND THESE GREAT PUBLIC AROUND THESE GREAT PUBLIC
THEATERS, THE MARKETPLACE WHICH THEATERS, THE MARKETPLACE WHICH
IS THEATRICAL AS ANYTHING YOU IS THEATRICAL AS ANYTHING YOU
WILL SEE AT A FESTIVAL. WILL SEE AT A FESTIVAL.
I THINK MY DRIVE AS A DESIGNER I THINK MY DRIVE AS A DESIGNER
IS FINDING WAYS DESIGN CONNECTS IS FINDING WAYS DESIGN CONNECTS
PEOPLE. PEOPLE.
FOR ME, THAT WAS BOTH CAREER AND FOR ME, THAT WAS BOTH CAREER AND
A WAY OF NAVIGATING THE WORLD A WAY OF NAVIGATING THE WORLD
THAT I FOUND LIFE-GIVING AND THAT I FOUND LIFE-GIVING AND
ENDLESSLY FASCINATING. ENDLESSLY FASCINATING.
>>HOW AS A SET DESIGNER>>HOW AS A SET DESIGNER
ARE YOU BEST ABLE TO COLLABORATE ARE YOU BEST ABLE TO COLLABORATE
WITH YOUR CREATIVE PARTNERS IN WITH YOUR CREATIVE PARTNERS IN
ORDER TO CREATE THOSE ORDER TO CREATE THOSE
CONNECTIONS, IN ORDER TO CREATE CONNECTIONS, IN ORDER TO CREATE
THOSE MOMENTS? THOSE MOMENTS?
>>EVERY PROJECT I DO, I>>EVERY PROJECT I DO, I
START OUT WITH RESEARCH. START OUT WITH RESEARCH.
I THINK RESEARCH IS CRITICALLY I THINK RESEARCH IS CRITICALLY
IMPORTANT. IMPORTANT.
THAT RESEARCH IN SOME WAYS HAS THAT RESEARCH IN SOME WAYS HAS
TO PRECEDE THE PROJECT. TO PRECEDE THE PROJECT.
THEN I READ THE PIECE AND TRY THEN I READ THE PIECE AND TRY
AND FIND WHAT IS THE PHYSICAL AND FIND WHAT IS THE PHYSICAL
LANGUAGE THAT WILL TELL THE LANGUAGE THAT WILL TELL THE
STORY AND HOW DOES THAT PHYSICAL STORY AND HOW DOES THAT PHYSICAL
LANGUAGE WANT TO CHANGE FROM THE LANGUAGE WANT TO CHANGE FROM THE
BEGINNING TO AN END. BEGINNING TO AN END.
CAN YOU FIND AN ARC, AN CAN YOU FIND AN ARC, AN
EMOTIONAL JOURNEY THAT CAN BE EMOTIONAL JOURNEY THAT CAN BE
PHYSICAL EYES IN A WAY THAT IS PHYSICAL EYES IN A WAY THAT IS
HELPFUL TO THE AUDIENCE AND HELPFUL TO THE AUDIENCE AND
HELPFUL TO THE PERFORMERS? HELPFUL TO THE PERFORMERS?
THEN, YOU HAVE TO BE GIVEN THEN, YOU HAVE TO BE GIVEN
PERMISSION TO PLAY WITH THE PERMISSION TO PLAY WITH THE
DIRECTOR AND THE TEAM TO TRY DIRECTOR AND THE TEAM TO TRY
DIFFERENT THINGS. DIFFERENT THINGS.
WE ACTUALLY CREATE THESE BIG WE ACTUALLY CREATE THESE BIG
IMAGE BOARDS THAT WILL LOOK AT IMAGE BOARDS THAT WILL LOOK AT
IDEAS AROUND THE CENTRAL IDEA, IDEAS AROUND THE CENTRAL IDEA,
WE WILL PURSUE A LOT OF TANGENTS WE WILL PURSUE A LOT OF TANGENTS
THAT END UP NOT BEING THE WAY THAT END UP NOT BEING THE WAY
YOU GO, BEING WILLING TO MAKE YOU GO, BEING WILLING TO MAKE
SUGGESTIONS OF WHERE THE SUGGESTIONS OF WHERE THE
DIRECTOR WILL GO, “REALLY?” DIRECTOR WILL GO, “REALLY?”
BUT I THINK THAT FREEDOM ALLOWS BUT I THINK THAT FREEDOM ALLOWS
US TO INVENT OUR WORLD THAT WILL US TO INVENT OUR WORLD THAT WILL
SUPPORT THAT STORY AND IN THE SUPPORT THAT STORY AND IN THE
CASE OF THE MUSICAL, YOU ARE CASE OF THE MUSICAL, YOU ARE
LISTENING TO THE LANGUAGE OF THE LISTENING TO THE LANGUAGE OF THE
MUSIC. MUSIC.
A VERY COMMON PHRASE IS DON‘T A VERY COMMON PHRASE IS DON‘T
PUT A HAT ON A HAT WHICH IS PUT A HAT ON A HAT WHICH IS
SOMETHING I THOUGHT A LOT ABOUT SOMETHING I THOUGHT A LOT ABOUT
IN “KISS ME, KATE” BECAUSE WHEN IN “KISS ME, KATE” BECAUSE WHEN
WE DID ALL OF THIS RESEARCH, WE WE DID ALL OF THIS RESEARCH, WE
SAW THIS BEAUTIFUL BACKSTAGE SAW THIS BEAUTIFUL BACKSTAGE
WORLD, WHICH SCOTT ELLIS WORLD, WHICH SCOTT ELLIS
LOVED AND OUR CHOREOGRAPHER LOVED AND OUR CHOREOGRAPHER
LOVED. LOVED.
WE REALIZED WE HAD TO GO FROM WE REALIZED WE HAD TO GO FROM
THAT TO THE WORLD OF “TAMING OF THAT TO THE WORLD OF “TAMING OF
THE SHREW” THAT WOULD SUPPORT THE SHREW” THAT WOULD SUPPORT
COMEDY. COMEDY.
SO WHAT WAS ROMANTIC AND SO WHAT WAS ROMANTIC AND
YEARNING DID NOT PROVIDE COMEDY YEARNING DID NOT PROVIDE COMEDY
SO IT WAS FINDING THOSE WORLDS SO IT WAS FINDING THOSE WORLDS
AND HOW THEY ARE CONNECTED. AND HOW THEY ARE CONNECTED.
YOU ARE ALWAYS LOOKING FOR THAT YOU ARE ALWAYS LOOKING FOR THAT
FINAL MISSING ELEMENT THAT THE FINAL MISSING ELEMENT THAT THE
SET WILL NOT DUPLICATE ANYTHING SET WILL NOT DUPLICATE ANYTHING
ELSE BUT WILL REALLY BRING IT ELSE BUT WILL REALLY BRING IT
TOGETHER. TOGETHER.
>>WHAT I FIND FASCINATING>>WHAT I FIND FASCINATING
ABOUT THE WAY THAT YOU WORK IS ABOUT THE WAY THAT YOU WORK IS
THAT YOU HAVE ALWAYS SAID, I THAT YOU HAVE ALWAYS SAID, I
DON‘T LIKE TO START KNOWING THE DON‘T LIKE TO START KNOWING THE
ANSWERS. ANSWERS.
THAT WHAT I DO IS AN EXPLORATION THAT WHAT I DO IS AN EXPLORATION
OF WHAT THOSE POTENTIAL ANSWERS OF WHAT THOSE POTENTIAL ANSWERS
ARE. ARE.
WHEN YOU ARE TALKING IN THE WHEN YOU ARE TALKING IN THE
EARLY STAGES TO A DIRECTOR LIKE EARLY STAGES TO A DIRECTOR LIKE
SCOTT ELLIS, ARE YOU DOODLING? SCOTT ELLIS, ARE YOU DOODLING?
>>I AM DOODLER AND A>>I AM DOODLER AND A
PAPER FOLDER. PAPER FOLDER.
I FIND THAT SKETCHING BRINGS THE I FIND THAT SKETCHING BRINGS THE
DIRECTOR IN, AND WE START WITH DIRECTOR IN, AND WE START WITH
VERY ROUGH MODELS BECAUSE SO VERY ROUGH MODELS BECAUSE SO
MUCH OF THEATRE IS SPATIAL IN MUCH OF THEATRE IS SPATIAL IN
SEQUENCING. SEQUENCING.
SO, THERE IS WHAT THE VISUAL SO, THERE IS WHAT THE VISUAL
VOCABULARY IS AND THEN THERE VOCABULARY IS AND THEN THERE
IS DETERMINING HOW THAT IS IS DETERMINING HOW THAT IS
GOING TO MOVE AND HOW THAT GOING TO MOVE AND HOW THAT
MOVEMENT INVITES THE AUDIENCE MOVEMENT INVITES THE AUDIENCE
IN. IN.
IT REALLY IS THE ULTIMATE THRILL IT REALLY IS THE ULTIMATE THRILL
FOR THE THEATER DESIGNER TO BE FOR THE THEATER DESIGNER TO BE
SITTING IN THE THEATER AND WHEN SITTING IN THE THEATER AND WHEN
THOSE TRANSITIONS HAPPEN, YOU THOSE TRANSITIONS HAPPEN, YOU
REALIZE IT IS 20 PEOPLE THAT REALIZE IT IS 20 PEOPLE THAT
WERE INVOLVED IN THAT TRANSITION WERE INVOLVED IN THAT TRANSITION
FROM THE PEOPLE DOING THE FROM THE PEOPLE DOING THE
AUTOMATION, LIGHTING, SOUND, AND AUTOMATION, LIGHTING, SOUND, AND
THE AUDIENCE JUST PERCEIVES AN THE AUDIENCE JUST PERCEIVES AN
EMOTIONAL LIFT. EMOTIONAL LIFT.
>>BORIS ARONSON‘S MODEL>>BORIS ARONSON‘S MODEL
FOR FIDDLER ON THE ROOF, WHEN FOR FIDDLER ON THE ROOF, WHEN
WAS THE FIRST TIME THAT YOU SAW WAS THE FIRST TIME THAT YOU SAW
HIS WORK AND I KNOW YOU COLLECT HIS WORK AND I KNOW YOU COLLECT
HIS WORK — WHAT KIND OF SEMINAL HIS WORK — WHAT KIND OF SEMINAL
INFLUENCE WAS HE ON YOU? INFLUENCE WAS HE ON YOU?
>>IT WAS “FIDDLER ON THE ROOF,”>>IT WAS “FIDDLER ON THE ROOF,”
WHEN I WAS 12. WHEN I WAS 12.
AT THAT EVENT TO GIVE HIM AN AT THAT EVENT TO GIVE HIM AN
AWARD, I WAS THE FORTH PERSON AWARD, I WAS THE FORTH PERSON
TO SPEAK ABOUT HIM, TO SPEAK ABOUT HIM,
BY THE TIME I GOT UP, EVERYBODY BY THE TIME I GOT UP, EVERYBODY
HAD MENTIONED THE PLAY, AND I HAD MENTIONED THE PLAY, AND I
THOUGHT, I HAVE TO FIND A THOUGHT, I HAVE TO FIND A
DIFFERENT ENTRY POINT. DIFFERENT ENTRY POINT.
BUT IT WAS THE PROJECT THAT BUT IT WAS THE PROJECT THAT
FIRST GOT MY ATTENTION OF HIS FIRST GOT MY ATTENTION OF HIS
WORK AND THEN I GOT TO KNOW WORK AND THEN I GOT TO KNOW
LISA, WIDOW, WHO WAS ALSO HIS LISA, WIDOW, WHO WAS ALSO HIS
ASSISTANT AND MEL’S ASSISTANT AND MEL’S
ASSISTANT BEFORE. ASSISTANT BEFORE.
I STARTED TO COLLECT HIS WORK I STARTED TO COLLECT HIS WORK
WHAT WAS SO INTERESTING IS WHAT WAS SO INTERESTING IS
THINKING ABOUT THOSE TRANSITIONS THINKING ABOUT THOSE TRANSITIONS
IN “FIDDLER” AND YOU CANNOT HEAR IN “FIDDLER” AND YOU CANNOT HEAR
THOSE SONGS WITHOUT IMAGINING THOSE SONGS WITHOUT IMAGINING
SOME OF THOSE MOVES. SOME OF THOSE MOVES.
IN JOEL GRAY‘S BEAUTIFUL YIDDISH IN JOEL GRAY‘S BEAUTIFUL YIDDISH
PRODUCTION, IT DOES NOT HAVE THE PRODUCTION, IT DOES NOT HAVE THE
PHYSICAL WORLD BUT IT STILL HAS PHYSICAL WORLD BUT IT STILL HAS
THE MOVEMENT THAT WAS DEFINED THE MOVEMENT THAT WAS DEFINED
BY JEROME — BY JEROME —
>>IT IS ON 42ND NEAR>>IT IS ON 42ND NEAR
HERE, ACTUALLY. HERE, ACTUALLY.
>>VERY BEAUTIFUL.>>VERY BEAUTIFUL.
>>BY THE TIME YOUR MOTHER>>BY THE TIME YOUR MOTHER
TOOK YOU TO SEE “FIDDLER” WHEN TOOK YOU TO SEE “FIDDLER” WHEN
YOU ARE 12 AT THE MAJESTIC? YOU ARE 12 AT THE MAJESTIC?
>>YEAH.>>YEAH.
>>BOX SCORES DURING>>BOX SCORES DURING
INTERMISSION. INTERMISSION.
>>YEAH.>>YEAH.
>>BY THAT TIME, YOUR>>BY THAT TIME, YOUR
FATHER HAD DIED IN A PLANE CRASH FATHER HAD DIED IN A PLANE CRASH
AT THE AGE OF 2, AND I WOULD AT THE AGE OF 2, AND I WOULD
THINK THESE SORT OF TRAUMATIC THINK THESE SORT OF TRAUMATIC
EVENTS GAVE YOU AN EMOTIONAL WAY EVENTS GAVE YOU AN EMOTIONAL WAY
INTO THE IMPERMANENCE OF LIFE, A INTO THE IMPERMANENCE OF LIFE, A
SENSE OF MORTALITY THAT THEN SENSE OF MORTALITY THAT THEN
MADE CREATING THESE MOMENTS ALL MADE CREATING THESE MOMENTS ALL
THE MORE IMPORTANT. THE MORE IMPORTANT.
>>WELL, NOW IN THE REARVIEW>>WELL, NOW IN THE REARVIEW
MIRROR, I CAN CONNECT THE DOTS. MIRROR, I CAN CONNECT THE DOTS.
YOU CANNOT CONNECT WHEN YOU ARE YOU CANNOT CONNECT WHEN YOU ARE
DOING IT. DOING IT.
WHAT I KNEW WAS DESIGN WAS A WHAT I KNEW WAS DESIGN WAS A
WAY I FELT I COULD CONNECT WITH WAY I FELT I COULD CONNECT WITH
PEOPLE TO CREATE THESE PEOPLE TO CREATE THESE
INCREDIBLE MOMENTS. INCREDIBLE MOMENTS.
CERTAINLY, I WAS DRIVEN, I CERTAINLY, I WAS DRIVEN, I
THINK, TO THINK ABOUT THAT BY THINK, TO THINK ABOUT THAT BY
LOSSES AND TRANSITIONS IN MY LOSSES AND TRANSITIONS IN MY
LIFE. LIFE.
LOTS OF MOVING AROUND. LOTS OF MOVING AROUND.
I THINK WITH THEATER — AND THE I THINK WITH THEATER — AND THE
TRUTH IS WITH ARCHITECTURE, MY TRUTH IS WITH ARCHITECTURE, MY
EARLY WORK WHICH STARTED OUT IN EARLY WORK WHICH STARTED OUT IN
RESTAURANTS, IT WAS ALL ABOUT RESTAURANTS, IT WAS ALL ABOUT
CREATING PLACES TO HAVE THESE CREATING PLACES TO HAVE THESE
INCREDIBLE MOMENTS AND MEMORIES. INCREDIBLE MOMENTS AND MEMORIES.
MEXICO WAS A FASCINATING PLACE MEXICO WAS A FASCINATING PLACE
TO BEGIN TO LEARN THAT TO BEGIN TO LEARN THAT
BECAUSE MEXICO WAS SO MUCH BECAUSE MEXICO WAS SO MUCH
ABOUT EVENTS AND FESTIVALS, AND ABOUT EVENTS AND FESTIVALS, AND
I WAS MINE BOGGLED BY THAT. I WAS MINE BOGGLED BY THAT.
IN 2008, I DID A RESEARCH IN 2008, I DID A RESEARCH
BOOK CALLED “SPECTACLE” WHICH BOOK CALLED “SPECTACLE” WHICH
REALLY QUESTIONED, WHAT IS THE REALLY QUESTIONED, WHAT IS THE
DRIVE TO CREATING THESE LIVE DRIVE TO CREATING THESE LIVE
MOMENTS AND CREATE MEMORIES THAT MOMENTS AND CREATE MEMORIES THAT
LAST LONG AFTER THE EVENT? LAST LONG AFTER THE EVENT?
THAT INTEREST IN THAT INTEREST IN
EVENT AND THEATER FOR MY FIRST EVENT AND THEATER FOR MY FIRST
15 YEARS AS AN ARCHITECT IN THE 15 YEARS AS AN ARCHITECT IN THE
NEW YORK WAS BROUGHT NEW YORK WAS BROUGHT
INTO ARCHITECTURE. INTO ARCHITECTURE.
MEETING EVERY DIRECTOR AND MEETING EVERY DIRECTOR AND
TALKING AND SKETCHING AND TALKING AND SKETCHING AND
FINDING THE RIGHT OPPORTUNITY, I FINDING THE RIGHT OPPORTUNITY, I
WAS ABLE TO REALIZE HOW WAS ABLE TO REALIZE HOW
INCREDIBLY IMPORTANT THAT WAS TO INCREDIBLY IMPORTANT THAT WAS TO
ME AS INSPIRATION AND NOW, ME AS INSPIRATION AND NOW,
WORKING IN THE THEATER, YOU WORKING IN THE THEATER, YOU
REALIZE, SOME OF MY STRONGEST REALIZE, SOME OF MY STRONGEST
MEMORIES ARE THESE MOMENTS THAT MEMORIES ARE THESE MOMENTS THAT
I HAVE SEEN IN THE THEATER, AND I HAVE SEEN IN THE THEATER, AND
NOW I GET TO BE A PART OF NOW I GET TO BE A PART OF
CRAFTING THOSE. CRAFTING THOSE.
INDESCRIBABLY WONDERFUL TO BE INDESCRIBABLY WONDERFUL TO BE
ABLE TO DO THAT. ABLE TO DO THAT.
>>YOU DESCRIBED IN “KISS>>YOU DESCRIBED IN “KISS
ME, KATE” AS THE PHYSICAL ENGINE ME, KATE” AS THE PHYSICAL ENGINE
OF IT. OF IT.
EXPLAIN WHAT YOU MEAN AND HOW EXPLAIN WHAT YOU MEAN AND HOW
THE SET DESIGNER IS CRUCIAL TO THE SET DESIGNER IS CRUCIAL TO
THAT MOTOR OF EMOTIONAL MOMENTS. THAT MOTOR OF EMOTIONAL MOMENTS.
>>I BELIEVE THE FIRST TIME>>I BELIEVE THE FIRST TIME
I HEARD THAT SAYING WAS HAL I HEARD THAT SAYING WAS HAL
PRINCE. PRINCE.
IT IS CERTAINLY SOMETHING I HAVE IT IS CERTAINLY SOMETHING I HAVE
THOUGHT A LOT ABOUT. THOUGHT A LOT ABOUT.
THAT IS THE FIRST TIME I HAD THE THAT IS THE FIRST TIME I HAD THE
NOTION OF THE ENGINE TO DRIVE NOTION OF THE ENGINE TO DRIVE
THE SHOW. THE SHOW.
WHAT YOU CAN DO IN THEATER IS GO WHAT YOU CAN DO IN THEATER IS GO
FROM PLACE TO PLACE RIGHT IN FROM PLACE TO PLACE RIGHT IN
FRONT OF THE AUDIENCE. FRONT OF THE AUDIENCE.
THE DESIGNER IS REALLY THE THE DESIGNER IS REALLY THE
CINEMATOGRAPHER IN DIRECTING CINEMATOGRAPHER IN DIRECTING
WHERE THE AUDIENCE CAN LOOK. WHERE THE AUDIENCE CAN LOOK.
I FIND MOVEMENT, WHEN I FIND MOVEMENT, WHEN
SET TO MUSIC, AND I THINK ABOUT SET TO MUSIC, AND I THINK ABOUT
IN “HAIRSPRAY” AT THE END OF IN “HAIRSPRAY” AT THE END OF
“WELCOME TO THE 60s” WE h”WELCOME TO THE 60s” WE
ALL KNEW THAT WE WANTED TO UP ALL KNEW THAT WE WANTED TO UP
THAT. THAT.
DURING THAT REPRISE, EVERY PIECE DURING THAT REPRISE, EVERY PIECE
OF SCENERY DISAPPEARED. OF SCENERY DISAPPEARED.
THAT IS SEARED IN MY MEMORY. THAT IS SEARED IN MY MEMORY.
IN “KISS ME, KATE” ONE OF THE IN “KISS ME, KATE” ONE OF THE
THINGS I WAS INTRIGUED BY — THINGS I WAS INTRIGUED BY —
IT IS A LOVE OF BACKSTAGE. IT IS A LOVE OF BACKSTAGE.
WE START OUT AND IS VERY SIMPLE WE START OUT AND IS VERY SIMPLE
WORLD OF BACKSTAGE AND I KNEW WORLD OF BACKSTAGE AND I KNEW
FROM THE BEGINNING THAT SCOTT FROM THE BEGINNING THAT SCOTT
THOUGHT THERE WAS SOMETHING THOUGHT THERE WAS SOMETHING
ABOUT BOOK ENDING THAT, WHICH IS ABOUT BOOK ENDING THAT, WHICH IS
NOT WRITTEN IN THE PLAY. NOT WRITTEN IN THE PLAY.
IT WAS SOMETHING HE WANTED TO IT WAS SOMETHING HE WANTED TO
ADAPT AND WORK WITH PAUL, JIM, ADAPT AND WORK WITH PAUL, JIM,
AND JOHNNY TO FIGURE OUT AND JOHNNY TO FIGURE OUT
MUSICALLY. MUSICALLY.
THEN WE HAD THE SET THEN WE HAD THE SET
DE-MATERIALIZE. DE-MATERIALIZE.
>>THERE IS SOMETHING>>THERE IS SOMETHING
NOSTALGIC AND TOUCHING AS WELL. NOSTALGIC AND TOUCHING AS WELL.
>>I AGREE.>>I AGREE.
IN ONE OF THE MOMENTS OF HOW IN ONE OF THE MOMENTS OF HOW
THINGS MOVE, STUDIO 54 IS A VERY THINGS MOVE, STUDIO 54 IS A VERY
COMPRESSED SPACE AND I ALWAYS COMPRESSED SPACE AND I ALWAYS
BELIEVE THAT LIMITATIONS FORCE BELIEVE THAT LIMITATIONS FORCE
INTERESTING SOLUTIONS. INTERESTING SOLUTIONS.
SINCE THERE IS KNOWING SINCE THERE IS KNOWING
SPACE, THE BACKSTAGE WORLD WHICH SPACE, THE BACKSTAGE WORLD WHICH
IS THREE SEPARATE PIECES CAN IS THREE SEPARATE PIECES CAN
FLATTEN AND GO AGAINST THE BACK FLATTEN AND GO AGAINST THE BACK
WALL OR COME ALL THE WAY WALL OR COME ALL THE WAY
DOWNSTAGE TOWARDS THE END OF THE DOWNSTAGE TOWARDS THE END OF THE
SHOW WHEN FRED SINGS THE SHOW WHEN FRED SINGS THE
REPRISE, THE ENTIRE SET AS HE IS REPRISE, THE ENTIRE SET AS HE IS
SINGING MOVES AS FAR AS IT CAN SINGING MOVES AS FAR AS IT CAN
UPSTAGE, SO THE UPSTAGE, SO THE
AUDIENCE FEELS LIKE IT IS A SLOW AUDIENCE FEELS LIKE IT IS A SLOW
CAMERA DOLLY. CAMERA DOLLY.
>>AND YOU ALSO HAVE A>>AND YOU ALSO HAVE A
MOMENT WITH A DROP IN VENICE, MOMENT WITH A DROP IN VENICE,
WHERE THE CLOUDS ACTUALLY DANCE. WHERE THE CLOUDS ACTUALLY DANCE.
HOW DID THAT MOMENT, WHICH IS HOW DID THAT MOMENT, WHICH IS
VERY WITTY, MATERIALIZE? VERY WITTY, MATERIALIZE?
>>IT CAME ABOUT WHEN WE>>IT CAME ABOUT WHEN WE
STARTED TO THINK ABOUT WHAT IS STARTED TO THINK ABOUT WHAT IS
THE WORLD OF THE SHOW WITHIN THE WORLD OF THE SHOW WITHIN
SHOW IS GOING TO BE. SHOW IS GOING TO BE.
I STARTED LOOKING FOR I STARTED LOOKING FOR
INSPIRATION AND I DID NOT WANT INSPIRATION AND I DID NOT WANT
ONE GENERIC UNIT SET, AND ONE GENERIC UNIT SET, AND
I‘VE FELT LIKE THAT WAS NOT I‘VE FELT LIKE THAT WAS NOT
FRANK GRAHAM WOULD HAVE FRANK GRAHAM WOULD HAVE
CONCEIVED — CONCEIVED —
>>HE WAS THE DIRECTOR WITHIN>>HE WAS THE DIRECTOR WITHIN
THE SHOW. THE SHOW.
>>EXACTLY.>>EXACTLY.
EVERY SCENE IS DOMINATED EVERY SCENE IS DOMINATED
BY A COLOR IDEA. BY A COLOR IDEA.
THAT’S DOMINATED BY THE RED THAT’S DOMINATED BY THE RED
AMBER FLOWERS, AND THE HILLS AMBER FLOWERS, AND THE HILLS
OF WHEAT AND THE DISTANCE AND OF WHEAT AND THE DISTANCE AND
THESE CLOUDS, I KNEW FROM MY THESE CLOUDS, I KNEW FROM MY
KNOWLEDGE OF THE SHOW AND KNOWLEDGE OF THE SHOW AND
SPEAKING TO SCOTT THAT WE WANTED SPEAKING TO SCOTT THAT WE WANTED
TO INTRODUCE — THAT IS THE TO INTRODUCE — THAT IS THE
FIRST MOMENT WHERE THEY ARE FIRST MOMENT WHERE THEY ARE
PERFORMING AND WE WANTED THAT TO PERFORMING AND WE WANTED THAT TO
BE VIVID AND VERY DIFFERENT. BE VIVID AND VERY DIFFERENT.
BY HAVING A WOOD TRUST WITH BY HAVING A WOOD TRUST WITH
THESE LINES WITH THESE CLOUDS, THESE LINES WITH THESE CLOUDS,
IT INVITES THE CAST. IT INVITES THE CAST.
THE FIRST TIME THE CAST DID THE FIRST TIME THE CAST DID
THAT, THEY WERE EXCITED BY IT. THAT, THEY WERE EXCITED BY IT.
>>THE CLOUDS COME UP –>>THE CLOUDS COME UP —
WE SHOULD PROBABLY EXPLAIN. WE SHOULD PROBABLY EXPLAIN.
>>WE GET TO SEE THEM GO>>WE GET TO SEE THEM GO
FASTER AND FASTER. FASTER AND FASTER.
>>THE CLOUDS ARE KEEPING>>THE CLOUDS ARE KEEPING
TIME. TIME.
SO YOUR SET IS BASICALLY SO YOUR SET IS BASICALLY
DANCING ALONG WITH THE DANCING ALONG WITH THE
CHOREOGRAPHY. CHOREOGRAPHY.
>>NO TAP, BUT IT DOES>>NO TAP, BUT IT DOES
DANCE. DANCE.
[LAUGHTER] [LAUGHTER]
>>–>>–
IF YOU GIVE THE DIRECTOR AND THE IF YOU GIVE THE DIRECTOR AND THE
CHOREOGRAPHER THOSE TOOLS, THEY CHOREOGRAPHER THOSE TOOLS, THEY
WILL PLAY WITH YOU. WILL PLAY WITH YOU.
ORIGINALLY, KELLI O‘HARA WAS ORIGINALLY, KELLI O‘HARA WAS
PULLING THE ROPES, AND WE PULLING THE ROPES, AND WE
REALIZED WE DID NOT WANT REALIZED WE DID NOT WANT
HER TO BE UPSTAGE, SO THEN WE HER TO BE UPSTAGE, SO THEN WE
CHANGED IT. CHANGED IT.
>>YOUR COLOR PALETTE –>>YOUR COLOR PALETTE —
WERE THEY INSPIRED BY WERE THEY INSPIRED BY
PAINTINGS? PAINTINGS?
>>WE LOOKED AT LOTS OF>>WE LOOKED AT LOTS OF
DIFFERENT WAYS TO APPROACH THAT. DIFFERENT WAYS TO APPROACH THAT.
WE ACTUALLY DREW IT FROM LATE WE ACTUALLY DREW IT FROM LATE
1940s ANIMATION. 1940s ANIMATION.
[LAUGHTER] [LAUGHTER]
>>THE KEY WAS TRYING TO>>THE KEY WAS TRYING TO
FIND A COLOR WORLD THAT FELT A FIND A COLOR WORLD THAT FELT A
LITTLE BIT MORE VIVID AND A LITTLE BIT MORE VIVID AND A
LITTLE LESS SPECIFICALLY LITTLE LESS SPECIFICALLY
NOSTALGIC. NOSTALGIC.
>>IT SOUNDS LIKE WHAT YOU>>IT SOUNDS LIKE WHAT YOU
DO WITH RESEARCH IS THAT YOU DO DO WITH RESEARCH IS THAT YOU DO
RESEARCH AND THEN YOU SORT OF RESEARCH AND THEN YOU SORT OF
PUT IT ASIDE, AND YOU SORT OF PUT IT ASIDE, AND YOU SORT OF
DEVELOP WHAT IS NEEDED FOR THE DEVELOP WHAT IS NEEDED FOR THE
HEIGHTENED REALITY OF THEATER. HEIGHTENED REALITY OF THEATER.
>>WELL, ALSO, YOU NEVER>>WELL, ALSO, YOU NEVER
KNOW WHERE RESEARCH IS GOING TO KNOW WHERE RESEARCH IS GOING TO
TAKE YOU. TAKE YOU.
WHEN I SAY I DO NOT WANT A WHEN I SAY I DO NOT WANT A
PROJECT WHERE I KNOW THE ANSWER PROJECT WHERE I KNOW THE ANSWER
BEFOREHAND, THAT LITTLE BIT OF BEFOREHAND, THAT LITTLE BIT OF
TERROR IN THE CASE OF “TOOTSIE” TERROR IN THE CASE OF “TOOTSIE”
— I WILL CREATE A MUSICAL — I WILL CREATE A MUSICAL
THAT CELEBRATES NEW YORK — THAT CELEBRATES NEW YORK —
WELL, “WEST SIDE STORY,” WELL, “WEST SIDE STORY,”
“COMPANY,” “ON THE TOWN,” “COMPANY,” “ON THE TOWN,”
“GUY‘S AND DOLLS,” THERE IS AN “GUY‘S AND DOLLS,” THERE IS AN
AMAZING LEGACY OF MUSICALS THAT AMAZING LEGACY OF MUSICALS THAT
DID THAT. DID THAT.
THERE IS A LITTLE BIT OF TERROR THERE IS A LITTLE BIT OF TERROR
ABOUT WHAT’S THE WAY WE’RE ABOUT WHAT’S THE WAY WE’RE
GOING TO DO THAT THAT SUITS GOING TO DO THAT THAT SUITS
THE SHOW. THE SHOW.
THAT LED TO RESEARCH AND LOTS OF THAT LED TO RESEARCH AND LOTS OF
UNEXPECTED WAYS. UNEXPECTED WAYS.
>>TERROR IS A GOOD WAY TO>>TERROR IS A GOOD WAY TO
PUT IT, AND I DO NOT THINK PUT IT, AND I DO NOT THINK
PEOPLE REALIZE THE KIND OF PEOPLE REALIZE THE KIND OF
— THAT ARTISTS HAVE TO COME — THAT ARTISTS HAVE TO COME
THROUGH. THROUGH.
SPEAKING OF “TOOTSIE”, YOU SPEAKING OF “TOOTSIE”, YOU
GO FROM AN ART DECO CITY SCAPE, GO FROM AN ART DECO CITY SCAPE,
FROM A PARK BENCH TO A SUBWAY, FROM A PARK BENCH TO A SUBWAY,
TO MICHAEL’S APARTMENT, TO A TO MICHAEL’S APARTMENT, TO A
42ND STREET REHEARSAL ROOM, 42ND STREET REHEARSAL ROOM,
TO A RESTAURANT — TO A RESTAURANT —
>>IN FIRST THREE SCENES.>>IN FIRST THREE SCENES.
>>AND INTO A THEATER.>>AND INTO A THEATER.
THAT REALLY MOVES AND DANCES. THAT REALLY MOVES AND DANCES.
DID YOU FIND YOU GOT TO BE A DID YOU FIND YOU GOT TO BE A
CHOREOGRAPHER TO MAKE CHOREOGRAPHER TO MAKE
ALL OF THESE MOVEMENTS? ALL OF THESE MOVEMENTS?
>>MY MOM WAS A>>MY MOM WAS A
CHOREOGRAPHER. CHOREOGRAPHER.
>>WHAT IS HER NAME?>>WHAT IS HER NAME?
>>JOANN.>>JOANN.
SHE WAS A CHOREOGRAPHER AND IF SHE WAS A CHOREOGRAPHER AND IF
YOU LOOK AT OUR RECENT WORK YOU LOOK AT OUR RECENT WORK
ARCHITECTURALLY, UNION SQUARE ARCHITECTURALLY, UNION SQUARE
CAFE, DANNY MYERS LIKES TO SAY CAFE, DANNY MYERS LIKES TO SAY
IT IS AS CHOREOGRAPHED AS ANY IT IS AS CHOREOGRAPHED AS ANY
SHOW, SO I THINK THAT MOVEMENT SHOW, SO I THINK THAT MOVEMENT
IS AN IMPULSE THAT DRIVES OUR IS AN IMPULSE THAT DRIVES OUR
INTERACTION WITH BUILDINGS. INTERACTION WITH BUILDINGS.
IN THE CASE OF “TOOTSIE” — IT IN THE CASE OF “TOOTSIE” — IT
HAD VERY UNIQUE DEMANDS THAT I HAD VERY UNIQUE DEMANDS THAT I
HAD NOT DEALT WITH BEFORE AND HAD NOT DEALT WITH BEFORE AND
ONE IS THAT IT IS A COMEDY ONE IS THAT IT IS A COMEDY
INSIDE A BIG MUSICAL. INSIDE A BIG MUSICAL.
THE SECOND ACT IS LOTS OF THE SECOND ACT IS LOTS OF
REALLY FUNNY LONG BOOK SCENES REALLY FUNNY LONG BOOK SCENES
THAT WANT A DOWNSTAGE APARTMENT THAT WANT A DOWNSTAGE APARTMENT
THAT LOOKS LIKE MICHAEL’S THAT LOOKS LIKE MICHAEL’S
APARTMENT, WHICH IS IN A APARTMENT, WHICH IS IN A
FRAGMENT, IT IS NOT A MOMENT. FRAGMENT, IT IS NOT A MOMENT.
IT IS A REAL WORLD. IT IS A REAL WORLD.
WE HAD TO DEVELOP A VERSION OF WE HAD TO DEVELOP A VERSION OF
NEW YORK, WHICH I AM VERY NEW YORK, WHICH I AM VERY
EXCITED ABOUT — I THINK THAT EXCITED ABOUT — I THINK THAT
THE WAY NEW YORK IS REPRESENTED THE WAY NEW YORK IS REPRESENTED
IS UNIQUE AND DON IS UNIQUE AND DON
HOLDER‘S LIGHTING IS BEAUTIFUL, HOLDER‘S LIGHTING IS BEAUTIFUL,
BUT THE CITY CAN PART AND THIS BUT THE CITY CAN PART AND THIS
APARTMENT COMES UP AND DOWN APARTMENT COMES UP AND DOWN
STAGE. STAGE.
>>HOW DIFFICULT WAS IT>>HOW DIFFICULT WAS IT
FOR YOU TO LEARN HOW MUCH THE FOR YOU TO LEARN HOW MUCH THE
AUDIENCE COULD FILL IN IF YOU AUDIENCE COULD FILL IN IF YOU
GAVE THEM A FRAGMENT? GAVE THEM A FRAGMENT?
>>EVERY DIRECTOR HAS A>>EVERY DIRECTOR HAS A
DIFFERENT OPINION ABOUT THAT. DIFFERENT OPINION ABOUT THAT.
[LAUGHTER] [LAUGHTER]
>>PART OF IT IS LEARNING>>PART OF IT IS LEARNING
THE RHYTHM OF THE DIRECTOR. THE RHYTHM OF THE DIRECTOR.
YOU DO WANT THE AUDIENCE TO DO YOU DO WANT THE AUDIENCE TO DO
SOME WORK. SOME WORK.
I REMEMBER ONCE SPEAKING TO I REMEMBER ONCE SPEAKING TO
GEORGE WOLFE, WATCHING HIM GEORGE WOLFE, WATCHING HIM
DIRECTING “A LUCKY GUY” WHICH I DIRECTING “A LUCKY GUY” WHICH I
DESIGNED, I SAW HIM TALKING TO DESIGNED, I SAW HIM TALKING TO
ACTORS ABOUT THE DIFFERENCE ACTORS ABOUT THE DIFFERENCE
BETWEEN LEANING FORWARD OR BETWEEN LEANING FORWARD OR
LEANING BACK. LEANING BACK.
I THINK SETS CAN DO THE SAME I THINK SETS CAN DO THE SAME
THING. THING.
I THINK THERE IS MOMENTS IN I THINK THERE IS MOMENTS IN
“TOOTSIE” WHERE IT LEANS BACK “TOOTSIE” WHERE IT LEANS BACK
AND MOMENTS WHERE IT LEANS AND MOMENTS WHERE IT LEANS
FORWARD. FORWARD.
AT THE END OF THE FIRST ACT, AT THE END OF THE FIRST ACT,
MICHAEL HAS A FANTASY NUMBER MICHAEL HAS A FANTASY NUMBER
WHERE HE IMAGINES HE IS THE WHERE HE IMAGINES HE IS THE
GREATEST STAR MALE OR FEMALE, GREATEST STAR MALE OR FEMALE,
AND THE SET HELPS WITH THAT AND THE SET HELPS WITH THAT
CELEBRATION, ENDING WITH A KIND CELEBRATION, ENDING WITH A KIND
OF MOMENT YOU WOULD HOPE WOULD OF MOMENT YOU WOULD HOPE WOULD
END A FIRST ACT WHERE THE END A FIRST ACT WHERE THE
AUDIENCE GOES — AUDIENCE GOES —
WHAT‘S GOING TO HAPPEN NEXT? WHAT‘S GOING TO HAPPEN NEXT?
>>YOU HAVE A TERM THAT I>>YOU HAVE A TERM THAT I
HAVE NOT HEARD OF IN CONNECTION HAVE NOT HEARD OF IN CONNECTION
WITH SET DESIGN. WITH SET DESIGN.
THAT IS BACK STORY. THAT IS BACK STORY.
CAN YOU EXPLAIN WHAT YOU MEAN CAN YOU EXPLAIN WHAT YOU MEAN
BY THAT IN A SET? BY THAT IN A SET?
>>BACK STORY HELPS IN ANY>>BACK STORY HELPS IN ANY
FORM OF DESIGN DEVELOP A POINT FORM OF DESIGN DEVELOP A POINT
OF VIEW WHERE DECISIONS AREN‘T OF VIEW WHERE DECISIONS AREN‘T
ARBITRARY. ARBITRARY.
I LEARNED THAT EARLY ON IN I LEARNED THAT EARLY ON IN
ARCHITECTURE THAT I WANTED A ARCHITECTURE THAT I WANTED A
KIND OF LOGIC, WHY SOMETHING IS KIND OF LOGIC, WHY SOMETHING IS
THE WAY IT IS, AND ONE WAY TO THE WAY IT IS, AND ONE WAY TO
EVOLVE THAT IS, THINK ABOUT IN EVOLVE THAT IS, THINK ABOUT IN
THE CASE OF “TOOTSIE,” THE NEW THE CASE OF “TOOTSIE,” THE NEW
YORK SKYLINE WANTS TO FILL THE YORK SKYLINE WANTS TO FILL THE
NEED OF HEROIC SKYLINE. NEED OF HEROIC SKYLINE.
BUT THE BACK STORY OF MICHAEL BUT THE BACK STORY OF MICHAEL
AND WHAT HE IS WILLING TO DO TO AND WHAT HE IS WILLING TO DO TO
BECOME A STAR, AND WHAT THAT BECOME A STAR, AND WHAT THAT
JOURNEY IS ALLOWED US TO THINK JOURNEY IS ALLOWED US TO THINK
ABOUT WATERCOLORS. ABOUT WATERCOLORS.
EARLY ON IN RESEARCH, WE LOOK AT EARLY ON IN RESEARCH, WE LOOK AT
THE SOFT, BEAUTIFUL WATERCOLORS THE SOFT, BEAUTIFUL WATERCOLORS
AND FROM A BACK STORY POINT OF AND FROM A BACK STORY POINT OF
VIEW, SAID, HOW DOES THAT BLEND VIEW, SAID, HOW DOES THAT BLEND
WITH THE HARDER EDGE OF NEW WITH THE HARDER EDGE OF NEW
YORK, AND THAT LED US TO THE YORK, AND THAT LED US TO THE
SOLUTION. SOLUTION.
BACK STORY ALSO MEANS BACK STORY ALSO MEANS
CONSTRUCTING WHAT HAPPENED CONSTRUCTING WHAT HAPPENED
BEFORE THAT MOMENT SO YOU CAN BEFORE THAT MOMENT SO YOU CAN
START TO HAVE AN ATTITUDE OTHER START TO HAVE AN ATTITUDE OTHER
THAN I LIKE BLUE OR I LIKE RED. THAN I LIKE BLUE OR I LIKE RED.
IT SORT OF NATURALLY LEADS TO A IT SORT OF NATURALLY LEADS TO A
DECISION. DECISION.
WITH THE HELEN HAYES THAT WITH THE HELEN HAYES THAT
BACK STORY BECAME — BACK STORY BECAME —
>>WHICH YOU RENOVATED,>>WHICH YOU RENOVATED,
OBVIOUSLY. OBVIOUSLY.
>>WHICH HAD BEEN MANY>>WHICH HAD BEEN MANY
DIFFERENT THINGS EARLY ON IN DIFFERENT THINGS EARLY ON IN
1912 WHEN IT HAD A BALCONY, IT 1912 WHEN IT HAD A BALCONY, IT
SURVIVED ALL OF THESE CHANGES. SURVIVED ALL OF THESE CHANGES.
LOOKING AT WHAT HAD BEEN THERE LOOKING AT WHAT HAD BEEN THERE
BEFORE, WE CAN COME UP WITH AN BEFORE, WE CAN COME UP WITH AN
APPROACH OF WHAT IT COULD BE NOW APPROACH OF WHAT IT COULD BE NOW
WHICH IS NOT A SIMPLE, ONE LINE, WHICH IS NOT A SIMPLE, ONE LINE,
SLAVISH REPRODUCTION. SLAVISH REPRODUCTION.
IT WAS NOT BY MIMICKING IT WAS NOT BY MIMICKING
SOMETHING, IT WAS BY GENERATING SOMETHING, IT WAS BY GENERATING
THAT POINT OF VIEW. THAT POINT OF VIEW.
>>ONE OF THE THINGS YOU>>ONE OF THE THINGS YOU
MENTIONED IN TERMS OF THE BACK MENTIONED IN TERMS OF THE BACK
STORY IS TECHNOLOGY VERSUS STORY IS TECHNOLOGY VERSUS
HANDCRAFT. HANDCRAFT.
THERE WERE HOW MANY HANDMADE THERE WERE HOW MANY HANDMADE
BOTTLES WERE IN YOUR TONY BOTTLES WERE IN YOUR TONY
WINNING SET FOR WINNING SET FOR
“SHE LOVES ME” — “SHE LOVES ME” —
>>AND THERE ARE TWO OF>>AND THERE ARE TWO OF
THEM IN THE SET OF “KISS ME, THEM IN THE SET OF “KISS ME,
KATE.” KATE.”
>>THERE ARE TIMES WHEN>>THERE ARE TIMES WHEN
ACTORS HAVE TO MOVE THE SET. ACTORS HAVE TO MOVE THE SET.
WHAT GOES INTO A DECISION WHEN WHAT GOES INTO A DECISION WHEN
YOU ARE A DIRECTOR — WE ARE YOU ARE A DIRECTOR — WE ARE
GOING TO HAVE ACTORS MOVING? GOING TO HAVE ACTORS MOVING?
>>TECHNOLOGY IS NOT>>TECHNOLOGY IS NOT
INHERENTLY INTERESTING ON ITS INHERENTLY INTERESTING ON ITS
OWN AND THEATER HAS ALWAYS BEEN OWN AND THEATER HAS ALWAYS BEEN
A LABORATORY AND TESTING GROUND A LABORATORY AND TESTING GROUND
FOR ADOPTING TECHNOLOGY FROM FOR ADOPTING TECHNOLOGY FROM
OTHER AREAS. OTHER AREAS.
ROBOTIC LIGHTING, ALL OF THE LED ROBOTIC LIGHTING, ALL OF THE LED
LIGHTING, AUTOMATION, THINGS LIGHTING, AUTOMATION, THINGS
THAT WERE TESTED AND CO-OPTED IN THAT WERE TESTED AND CO-OPTED IN
THE THEATER — IN ANY THE THEATER — IN ANY
TRANSITION, IT REQUIRES TRANSITION, IT REQUIRES
TECHNOLOGY IF IT IS GOING TO TECHNOLOGY IF IT IS GOING TO
INVOLVE AUTOMATION, BUT IT ALSO INVOLVE AUTOMATION, BUT IT ALSO
REQUIRES ALL OF THE HUMANS REQUIRES ALL OF THE HUMANS
DRIVING THAT. DRIVING THAT.
I THINK THAT THE REASON IT IS I THINK THAT THE REASON IT IS
GOOD TO HAVE A DISTINCT POINT OF GOOD TO HAVE A DISTINCT POINT OF
VIEW ABOUT THOSE TWO IS THAT VIEW ABOUT THOSE TWO IS THAT
TECHNOLOGY LOCKS YOU INTO A TECHNOLOGY LOCKS YOU INTO A
NUMBER OF PATTERNS AND IF YOU NUMBER OF PATTERNS AND IF YOU
CAN BE SURE THAT THAT IS WHAT CAN BE SURE THAT THAT IS WHAT
YOU ARE GOING TO WANTED TO DO, YOU ARE GOING TO WANTED TO DO,
YOU CAN BUILD THAT IN. YOU CAN BUILD THAT IN.
IF YOU WANT TO HAVE A FREER IF YOU WANT TO HAVE A FREER
SET OF DECISIONS, WHEN WE GO IN SET OF DECISIONS, WHEN WE GO IN
AND OUT OF THE NEW 42, THE AND OUT OF THE NEW 42, THE
ACTORS BRING THAT IN, BECAUSE ACTORS BRING THAT IN, BECAUSE
THE ACTION OF THAT IS WHAT WOULD THE ACTION OF THAT IS WHAT WOULD
REALLY HAPPEN IN THAT SCENARIO. REALLY HAPPEN IN THAT SCENARIO.
I THINK YOU WANT TO HAVE THE I THINK YOU WANT TO HAVE THE
THINGS THAT CAN BE ACTOR DRIVEN, THINGS THAT CAN BE ACTOR DRIVEN,
YOU NEED TO MAKE SURE THE YOU NEED TO MAKE SURE THE
DIRECTOR AND CHOREOGRAPHER HAVE DIRECTOR AND CHOREOGRAPHER HAVE
THE PEOPLE TO DO THAT. THE PEOPLE TO DO THAT.
>>IN THE HISTORY OF>>IN THE HISTORY OF
ARCHITECTURE, LIKE THE HISTORY ARCHITECTURE, LIKE THE HISTORY
OF BROADWAY, IT IS A STORY OF OF BROADWAY, IT IS A STORY OF
RESPONDING TO WHAT THE CITY RESPONDING TO WHAT THE CITY
NEEDS AT ANY GIVEN TIME AND NEEDS AT ANY GIVEN TIME AND
PLACE. PLACE.
WHAT DOES THE CITY NEED THAT WHAT DOES THE CITY NEED THAT
“THE SHED” MAY BE THE ANSWER TO? “THE SHED” MAY BE THE ANSWER TO?
>>”THE SHED” IS A PROJECT>>”THE SHED” IS A PROJECT
THAT WE HAVE BEEN A PART OF THAT WE HAVE BEEN A PART OF
SINCE 2010. SINCE 2010.
THE LEAD ARCHITECT, WE HAVE HAD THE LEAD ARCHITECT, WE HAVE HAD
THE PRIVILEGE OF COLLABORATING THE PRIVILEGE OF COLLABORATING
OVER 10 YEARS. OVER 10 YEARS.
THROUGHOUT A TIME IN WHICH IT THROUGHOUT A TIME IN WHICH IT
BEGAN AS A REQUEST FROM THE CITY BEGAN AS A REQUEST FROM THE CITY
FOR A CULTURAL PIECE THAT WOULD FOR A CULTURAL PIECE THAT WOULD
ANCHOR HUDSON YARDS AND REALLY ANCHOR HUDSON YARDS AND REALLY
BEGAN WITH A SERIES OF IDEAS BEGAN WITH A SERIES OF IDEAS
THAT ROCKWELL AND THE OTHER THAT ROCKWELL AND THE OTHER
COMPANY PUT FORWARD, THAT IN COMPANY PUT FORWARD, THAT IN
2008, WHICH ECONOMICALLY WAS A 2008, WHICH ECONOMICALLY WAS A
DISASTER, THE CITY HAD BEGUN DISASTER, THE CITY HAD BEGUN
THINKING ABOUT WHAT KINDS OF THINKING ABOUT WHAT KINDS OF
THINGS MIGHT BE INTERESTING TO THINGS MIGHT BE INTERESTING TO
HAVE CULTURALLY THERE. HAVE CULTURALLY THERE.
THEY WENT OUT TO SPEAK TO THEY WENT OUT TO SPEAK TO
EXISTING CULTURAL INSTITUTIONS EXISTING CULTURAL INSTITUTIONS
AND THE DECISION WAS TO CREATE AND THE DECISION WAS TO CREATE
THIS GROUND UP ART CENTER WITH THIS GROUND UP ART CENTER WITH
ALEX POOTS COMING ON BOARD ALEX POOTS COMING ON BOARD
AS THE CREATIVE LEAD THAT IS AS THE CREATIVE LEAD THAT IS
REALLY BASED ON THE IDEA THAT WE REALLY BASED ON THE IDEA THAT WE
DO NOT KNOW WHAT ARTISTS ARE DO NOT KNOW WHAT ARTISTS ARE
GOING TO USE IN THE FUTURE, GOING TO USE IN THE FUTURE,
SO LET‘S CREATE A NIMBLE SET OF SO LET‘S CREATE A NIMBLE SET OF
CONDITIONS THAT STARTS TO THINK CONDITIONS THAT STARTS TO THINK
ABOUT HOW MANY DIFFERENT ARTISTS ABOUT HOW MANY DIFFERENT ARTISTS
CAN USE THE SPACE. CAN USE THE SPACE.
ALMOST LIKE AN URBAN FESTIVAL, ALMOST LIKE AN URBAN FESTIVAL,
AND FLEXIBILITY HAS BEEN THE AND FLEXIBILITY HAS BEEN THE
KEY DRIVER. KEY DRIVER.
>>IT IS ALMOST LIKE THIS>>IT IS ALMOST LIKE THIS
MASSIVE THING CAN DANCE. MASSIVE THING CAN DANCE.
>>IT CAN DANCE, BUT IT CAN>>IT CAN DANCE, BUT IT CAN
ALSO STEP OUT OF THE WAY AND LET ALSO STEP OUT OF THE WAY AND LET
THE PERFORMERS DO THE DANCING. THE PERFORMERS DO THE DANCING.
WHEN YOU THINK ABOUT THEATERS, WHEN YOU THINK ABOUT THEATERS,
THEY ARE MEMORY MACHINES, AND I THEY ARE MEMORY MACHINES, AND I
THINK THE MOST ICONIC THING THINK THE MOST ICONIC THING
ABOUT “THE SHED” WILL BE WHAT ABOUT “THE SHED” WILL BE WHAT
HAPPENS. HAPPENS.
>>WE HAVE TO WRAP UP, BUT>>WE HAVE TO WRAP UP, BUT
I KNOW IN YOUR FOUR STORIES AT I KNOW IN YOUR FOUR STORIES AT
THE ROCKWELL GROUP, YOU HAVE A THE ROCKWELL GROUP, YOU HAVE A
MUSIC GROUP. MUSIC GROUP.
WITH SOMEONE AS BUSY AS YOU ARE, WITH SOMEONE AS BUSY AS YOU ARE,
YOU TAKE A BREAK AND CAN COMPOSE YOU TAKE A BREAK AND CAN COMPOSE
YOURSELF IN YOUR MUSIC ROOM. YOURSELF IN YOUR MUSIC ROOM.
AND PLAY THE PIANO. AND PLAY THE PIANO.
WHAT ARE YOU WORKING ON NOW? WHAT ARE YOU WORKING ON NOW?
>>I AM WORKING ON –>>I AM WORKING ON —
>>AND YOU ARE BEING>>AND YOU ARE BEING
TAUGHT BY A MASTER, A TAUGHT BY A MASTER, A
90-YEAR-OLD MASTER, IS THAT 90-YEAR-OLD MASTER, IS THAT
CORRECT? CORRECT?
>>YES.>>YES.
I WENT TO SEE SEYMOUR AND SAID I WENT TO SEE SEYMOUR AND SAID
I WOULD LIKE TO STUDY WITH HIM. I WOULD LIKE TO STUDY WITH HIM.
HE PUT HIS ARM AROUND ME AND HE PUT HIS ARM AROUND ME AND
SAID, YOU CAN PLAY A SAID, YOU CAN PLAY A
LITTLE PIANO, BUT IF YOU WANT TO LITTLE PIANO, BUT IF YOU WANT TO
MAKE MUSIC, YOU NEED TO COMMIT. MAKE MUSIC, YOU NEED TO COMMIT.
I HAVE BEEN SO INSPIRED SO I PUT I HAVE BEEN SO INSPIRED SO I PUT
A MUSIC ROOM IN THE OFFICE. A MUSIC ROOM IN THE OFFICE.
THERE ARE TWO HOURS IN THE THERE ARE TWO HOURS IN THE
MORNING IF I GET IN AT 6:30 MORNING IF I GET IN AT 6:30
WHERE I AM ABLE TO DELVE DOWN WHERE I AM ABLE TO DELVE DOWN
AND GET INTO A LEVEL OF AND GET INTO A LEVEL OF
INSPIRATION AND ARTISTRY THAT INSPIRATION AND ARTISTRY THAT
JUST TAKES ME TO A WHOLE ANOTHER JUST TAKES ME TO A WHOLE ANOTHER
PLACE. PLACE.
I AM WORKING ON A BEETHOVEN I AM WORKING ON A BEETHOVEN
PIECE WHICH COULD BE A LIFETIME PIECE WHICH COULD BE A LIFETIME
ADVENTURE. ADVENTURE.
>>YOU HAVE HAD A COUPLE>>YOU HAVE HAD A COUPLE
OF LIFETIME ADVENTURES. OF LIFETIME ADVENTURES.
THANK YOU SO MUCH FOR JOINING US THANK YOU SO MUCH FOR JOINING US
AND I WISH YOU LUCK ON ALL OF AND I WISH YOU LUCK ON ALL OF
YOUR PROJECTS. YOUR PROJECTS.
>>THANKS FOR HAVING ME.>>THANKS FOR HAVING ME.
>>AND THANK YOU FOR JOINING US.>>AND THANK YOU FOR JOINING US.
WE WILL BE BACK NEXT MONTH WITH WE WILL BE BACK NEXT MONTH WITH
ANOTHER LOOK AT THE BRAVE, BOLD, ANOTHER LOOK AT THE BRAVE, BOLD,
AND SINGULAR ARTISTS WHO LIVE AND SINGULAR ARTISTS WHO LIVE
AND WORK ONLY TO ASTONISH US. ♪ [THEME MUSIC] ♪

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