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Interview with Amy Sherman-Palladino & Sutton
"Bunheads" on ABC Family 12/14/12
I love the show "Bunheads", so this
was a fun call! My two questions are in red below.
ABC Familyís Q&A Session
Amy Sherman-Palladino & Sutton Foster Ė BUNHEADS
Moderator Amy, tell us, how many episodes is this second
batch, and what are the odds at this point, how does it look
for having a second season?
A. Palladino There are eight episodes right now, and I have
no freaking idea.
A. Palladino The world of ABC Family is different, they have
a whole different show schedule with Seasons 1, 1a, 1b, 1c.
Some of their other shows, I think theyíre on Season 1/25.
Moderator Thatís good.
A. Palladino I think theyíve done about 4 ,000 shows and
theyíre not on Season 2 yet, so I donít really know how it
works on ABC Family. Itís a new kind of family. But as far
as what we discussed with what I promised ABC Family in
terms of where Iím going with the girls and the dance and
blah, blah, blah, I havenít lied to them and they seem a
little happy at the moment, so I will take that as a
positive sign. Howís that?
Moderator Sutton, I see your brotherís going to be on
several episodes this year, so if you could just step back
and tell us for a minute, this is real unusual for a family
to produce two Broadway stars. What is unusual about your
family or Troy, or you or them or anything that kind of
created this situation?
S. Foster I have no idea. Both of my parents, neither one of
them are in the business, no one in our family, and Hunter
and I, we were never the singing Fosterís. We just like to
perform and do stuff for fun. And the fact that we both have
chosen to make careers in this business, I donít know, I
have no idea why or how it happened, but itís been awesome
and itís been really, really, really special to have him on
the show and to be able to work with him. This is our first
time working together as actors and so itís been really,
really fun to have this opportunity.
Moderator Sutton, what do you do to
prepare mentally and/or physically for your role?
S. Foster Oh goodness, mentally and physically, well,
getting to play a role like this and having the honor and
the challenge of undertaking Amyís dialogue, itís one of the
greatest gifts Iíve ever had. As an actor you hope that you
have good material to work with, but I have great material
to work with. Most of the time right now is really trying to
honor what has been written and honor the page, and I feel
so lucky because we have great writers who take such good
care of us and our characters. And a lot of the workís
already done for me, because itís on the page, so itís just
exciting. I just try to prepare as much as I can and be open
and willing to give my best and work hard.
Moderator Amy, I just wanted to know,
will we be seeing, I canít remember his name, the actor who
plays the dead husband, at all in these episodes coming up?
A. Palladino You will. Alan Ruck has said to me, ď... youíre
going to have to let me go now. I donít know how many other
ways you can bring me back.Ē And Iíve said to him, do not
underestimate me, young man, because I will figure it out,
because he shows up and the whole world is a little
cheerier. Heís just so great.
And I want to say one thing about Sutton Fosterís
preparation, sheís making it seem like all she does is get
handed a great script. This broad, she works 16 hour days,
and then she comes in for dance classes ahead of time. She
takes classes on the side. I mean, Iíve never met in my life
anyone more dedicated or a harder worker than her. I donít
know where she gets it from. But the commitment and the
intensity that she puts into this, you canít write scripts
for people who wonít dig deep and make it better, and she
ups the ante every single week, and I donít know, sheís an
other-worldly creature. Sheís like from The Hobbit. I donít
know where sheís from. Sheís not of this earth. Thereís
literally nobody more dedicated or that works harder on
every aspect than this broad. Thatís it. Thatís all Iíve
Moderator Amy- Youíve created some wonderful television
shows like Gilmore Girls and now of course Bunheads, where
do you get your inspiration to make shows with such great
plots and interesting characters?
A. Palladino Well, I donít know, just a lack of therapy,
perhaps, no time to work it out on a couch with a man and an
ipad. I love family interaction, and in a weird way Gilmore,
obviously was family, but this show is a new kind of family,
Iíll keep saying that, because itís my favorite tagline
ever, but it is about people who, you know, somebody once
told me, ďYou just created your own family.Ē I donít care
what, if your family isnít exactly what you need it to be,
then go out and create it, find it. And thatís what this
show is about. Itís about creating your own family, finding
your own support system.
And I just enjoy that because you never run out of stories,
because youíre never not mad at your family, it never ends,
I mean, even if you have a nice family, itís all over. So
itís a little bit of that. And this is a little bit based on
my experiences. I was supposed to be a dancer, so I spent a
lot of time in ballet class, and the interactions between
girls in an intense environment like that, itís always been
a very interesting world to me, and that ballet dressing
room, thatís where a lot of stuff goes down, so Iíve got an
opportunity to be able to explore a world that I love. I
love dance. I just love it. I love watching it. I love
watching other people do it.
And when I was handed the delicious Sutton Foster, when
youíve got somebody who can do anything in the world, it
opens up an avenue of anything you ever wanted to do,
suddenly you can do it, you can drive down the street and
you see an AT&T store, and somebody screaming outside of an
AT&T store, and youíre like, wow, that would be funny. I
would enjoy watching Sutton scream at someone Ė I just
passed an AT&T store, by the way, so there you go, thereís
my inspiration. It really just comes from that, it comes
from real life experience, it comes from the people around
you, and it comes from working with the best.
Moderator Speaking of working with the best, youíve worked
with some great actors in Gilmore Girls and you have a
tendency to put actors from previously successful shows into
new shows like Bunheads. Are you trying to maybe recreate
the magic that made Gilmore Girls successful with Bunheads?
A. Palladino Yes, exactly. Do you know what it is, my
particular style of writing, love it or hate it, it is very
specific and when I find a particular person who can knock
it out of the ballpark, itís like Orson Welles and his group
of mad actors that he would use in everything Ė not that Iím
Orson Welles, although I wouldnít mind being Orson Welles
someday Ė but the idea that youíre lucky enough in your
career to collect people who are particularly good at the
stuff that you like to write, and when you find them you
want to write for them.
I find myself longing to write for Liza Weil, or longing to
write for Sean Gunn, or longing to write for Todd Lowe, or
Rose Abdoo, and when you have a jones to write for certain
people because theyíre so good, I understand the whole
concept of youíre trying to build a whole new reality, but
the reality of show business is when you find people that
are great, youíve got to work with them and youíve got to
latch on to them, because thereís not billions of people out
there who are special. And if you find a merry band of
madmen who will come and make things wonderful, I will write
for those people forever.
Moderator Amy, following up on what we were just talking
about, were you at all concerned about the comparisons
between Bunheads and Gilmore Girls, especially in casting
A. Palladino Well, it comes into your head, and the thing
about Kelly Bishop is when I was casting that role I did not
go to Kelly. I did not go to Kelly mostly because Kelly
lived in Jersey and her life is in Jersey, and I knew the
show had to shoot out here, and thatís not something Kelly
was keen to do, and also, yes, because of the comparisons.
And then I found myself in the auditions, after these lovely
women would read and work and leave, I would turn to the
casting director and I would say, yes, but theyíre not Kelly
Bishop. And after three weeks of saying ďTheyíre not Kelly
Bishop,Ē I had to just go get Kelly Bishop, because it was
like, what the hell was I doing? Thereís nobody who could
have done this part but Kelly Bishop. It was Kelly Bishop. I
wrote it for Kelly Bishop. And I got crazy, Iím hoping some
other Kelly Bishopís going to walk in the door, and so there
was a lot of conning and negotiating and finagling to try
and make it work with her lifestyle.
But at some point to me the work is the work, and yes, sure,
some people can take swipes at me for Gilmore, or
comparisons or whatever, but itís not Gilmore, itís
different relationships, theyíre playing different
characters, Sutton Foster is not Lorelai at all, and I just
feel like, again, youíve got to get the best person. You
canít shy from what someone says about you, because Iím free
game, when I put things on the air, I get ďThis is what we
get, the Gilmore Girls, really? Thanks a lot, lady.Ē You
canít make your creative decisions based on, boy, somebody
may not like it, or somebody thinks Iím going to try and
recreate something that Iíve already done. If youíve got the
vision. Thatís what Iím trying to do.
Moderator In the pilot we saw a lot about the ocean, there
was a lot about the window looking out over the ocean, and
it seems like as the season went on the ocean kind of
disappeared. Are we going to see that again, how close they
are to the beach?
A. Palladino Well, hereís the funny stuff, oceans, they cost
money to go there, and the thing about ABC Family, as
delightful as they are as people and supportive as they are
of the show, they donít have unlimited money to go anyplace.
So moving away from the ocean was not necessarily a creative
gesture, it was more Ė this is a show that is unlike shows
that have big budgets, and a lot of figuring out how to
handle the finances of the dance, which is quite a lot
because of rehearsal, music, of bodies, of choreography, and
so when youíre allocating your money I can either put a
great dance in there or I can drive us out to the ocean, and
the ocean tends to lose.
I hope to go back there, because what the ocean represented
to Michelle in the pilot was a sense of openness, a sense of
freedom, a sense of not being trapped in a crap apartment
off the Strip in a depressing sort of environment. So weíve
tried to keep that alive with her wonderful Topanga Canyon-y
feeling house that still has lots of windows, lots of air,
lots of space. We try to keep the elements that drew her
here alive, and we try to do it on our budget. And hopefully
we will get to do more there, but story trumps locations
many, many times, the nuts and bolts of actual production
Moderator Amy, what was your assessment of the strengths and
weaknesses of that first batch of episodes, and how did you
incorporate that evaluation into these new episodes?
A. Palladino Well, one thing we learned from the first
episodes is thereís been a lot of money talk. Iíve gotten a
lot more knowledgeable about money. Iíve never talked so
much about money in my entire life, itís a very weird
process for me, and how to be smart and get all the
production value on screen. But I would say what you really
learn, one of the biggest things was Sutton Foster can do
anything which is a weapon Iíve got in my arsenal, because
it just means Iím going to throw more stuff at her. But the
other thing is the way we could incorporate guests
organically into the show, because one thing I was very
nervous about is that we were going to get a lot of requests
to just throw a dance number in there and I didnít want it
to be a performing show in terms of it wasnít about that.
One thing that we really learned was that dance was very,
very, very integral to this show. Shows that we did that did
not visit the venue or did not have the flavor of dance in
it, we always wound up going back and putting a dance in it,
because it was just something that made it special and
specific to our world.
The other thing is we had to adjust to, on a practical
level, our page count was too low because we were coming in
very, very, very short and I was trying to keep the page
count low because we had a day less to shoot than we had on
Gilmore, but the pace of the show goes so fast that that
became a big problem for us. So now weíve got the page count
And I think we also, the first ten, the learning curve for
us was what can these four young girls do? They were all
kind of new. They were all kind of green. Who can talk? Who
can turn a joke? Who is great with long speeches? Who is not
great with long speeches? It was a lot of that. And who was
going to be able to, was anybody going to fall out, or were
all these girls going to get stronger?
Thatís the scariest thing going into a new show is you go in
with the big storylines and then a character that you had
planned on doing something either canít do it, or itís not
in their wheelhouse and then suddenly the best laid plans
are all gone. We got very, very lucky because these girls
all just really rose to the challenge and it made it more
important for us to work with their families, with their
parents, get them involved in romances. They werenít going
to be peripheral characters anymore. They needed to really
be whole, dimensional, flesh-and-blood, as much as Michelle
and as much as the dance.
Moderator In terms of the show title, was that something
that you came up with, was that a title you pushed? It seems
like the show had some trouble getting traction with
viewers, and I wonder if people were confused by the title.
A. Palladino Well, bunheads is a term that I grew up with,
because they call you a bunhead when youíre in ballet class,
at least they did when I was in ballet class, because you
wear a bun. So the title for me was just that. Itís within
that world, and it was a title that means something. And I
base most of my life decisions on what is ridiculous and
insane. And as far as people now Ė yes, I guess that maybe
some people didnít quite get it or understand it, and part
of the reason when we did an opening sequence we shots buns
on heads, so the people were like, ďOh, there are buns on
heads. I get it.Ē
And I think also, though, the learning curve for this show
is just it doesnít really fit into a particular category.
Itís not truly a teen show. Itís not truly about a
35-year-old woman. Itís not truly about a 65-year-old woman.
Itís an amalgam of women basically and coming of age at many
stages of your life. So I think that itís also been a
challenge for us and for ABC Family and everyone to figure
out how to make people understand that thereís actually a
little something for everybody in here. Itís a delightful
grab bag of craziness.
Moderator Sutton, it was interesting when Amy was talking
about Kelly being an east coaster and having to move out to
the west, because I think you lived in New York, hadnít you,
for years and years before you came for the show. Tell us
the whole thing of how that went down, because as I was
looking at it, it looks like you were on Broadway right up
until about three months before Bunheads started on TV. So
how did that whole transition go for you?
S. Foster I was doing a revival of Anything Goes on Broadway
when all of this came up. I actually took a few weeks off
from the show to shoot the pilot and then left the show to
come start shooting the series, and I honestlywasnít really
looking to do a television show. I had been living in New
York for 15 years and I had never really actively pursued a
TV career at all, I was pretty much set on doing theater,
but I always told myself that if the right project came
along that I would go for it. And one of my favorite shows
was Gilmore, I mean of all time, and Amyís one of my
favorite writers, and we took a meeting and I basically fan-girled
all over her, and then a couple of weeks later they called
and were talking to me about this pilot.
And it was just the right time and the right script, and the
transitionís actually been really great. I was living in New
York for about 15 years and I came out here to film the
series, and actually really love it out here. Itís been a
really nice change for me. Itís been a great experience.
Moderator So what was that like, the Flight of the Conchords
S. Foster Flight of the Conchords was awesome. It was my
very first TV experience, and they were so great. And
neither one of the guys had seen a Broadway show, but what I
loved about it is that I got cast just for me and not
because, I donít know, because I had a name or whatever.
They were like, oh, we want that girl. And so it was great
to be able to say, oh yes, my night job is Broadway. And
neither one of them had seen a Broadway show and I was doing
The Drowsy Chaperone at the time in New York, and so I got
them both tickets to come see a show. And they both came and
they were like, what? They didnít understand. But it was
awesome. My whole experience was so awesome. Iím such a huge
fan of theirs and that was a great first experience for me
for the TV world.
Moderator So much of the first season was about the
character of Michelle struggling to adjust to life in
Paradise, but when she returns are we going to see more of
the same sort of fish out of water issues, or is she going
to get more settled in?
A. Palladino I donít think Michelle necessarily is a fish
out of water. I felt more like itís a person struggling with
what is the next aspect of my life, more than, hey, these
people are all weird. Michelleís struggle and a lot of
peopleís life struggles, which sometimes theyíre never quite
resolved, is what do I do when all of the plans that Iíve
made and all of the things I thought were going to happen I
suddenly realize, oh, thatís actually not going to happen. I
need a new plan. And that to me thatís what Michelleís
journey was in the first ten, and frankly, it may be her
journey for the rest of her life to figure out, I was
supposed to be a dancer and those years are slipping away
and now where am I, what am I, can I fall in love, can I
have a relationship, will I ever be married, will I stay
here forever, will I leave in a month? Again, I go back to
Michelleís a girl with a lot of armor, and it takes a lot to
cross through that armor sometimes. So I actually think a
lot of the journey is her trying to focus not so much on
wow, Iím in this new environment, but I need a road map. I
need a life road map. Thatís the way I view it.
Moderator The first batch of episodes ended with her leaving
Fanny and the girls, so how did Michelleís departure affect
all the people she left behind?
A. Palladino I think Michelleís biggest surprise is the hole
that her departure actually left for people, because I think
Michelleís a girl who thinks: I donít get attached, I donít
latch on, I donít fall in love, I never have, out of sight,
out of mind, and itís a new experience with someone like her
that she would come back and realize sheís been missed,
sheís been needed, sheís left a hole in lives of young girls
who arenít her girls. Itís like, youíre not my kids, why do
they care whether Iím here or not. Iím not their mom. But
you know what, any influence on young girls comes from many,
many areas and sometimes itís not their mom. Sometimes it is
that teacher. Sometimes it is that babysitter or that
person, or the unusual, from left field advice that you get
from a crazy librarian who hands you a book that changes
your life. You canít anticipate what sort of thing is going
to impact, and I think Michelle, who probably doesnít really
think much of herself in the grand scheme of things, is very
surprised that she means a lot to people.
Moderator As you said, you lived in New York for so many
years, what was your favorite part about getting to live
S. Foster I grew up in small towns, I lived in Georgia, I
lived in Michigan, and New York is the greatest city in the
world and itís also the hub of everything that I wanted. I
wanted to be in theater. I wanted to perform on stage. And
that was where it all happened. I love the idea that things
are open until 4 a.m. and you can walk everywhere and
thereís this sense of life. The minute you walk out your
apartment building itís like thereís this energy that you
canít describe. It can be a negative, but most of the time
itís such a positive because you just feel like, oh my God,
and you go into this incredibly alive world and city. But
itís an amazing city. Itís interesting being out in
California because itís so different and itís such a
different lifestyle. Hopefully my life will be full of both.
Moderator Amy, what exactly is a bunhead to you?
A. Palladino What is a bunhead?
A. Palladino Itís a little girl, or it doesnít have to be so
little, it can be tall, I donít care, Iím not against
height, itís someone whoís really immersed themselves in the
world of ballet. And theyíre really a bunhead, whether or
not they even become a ballet dancer. Itís just a very
interesting world to be a part of, especially when youíre
growing up and learning how to be a person, and how to deal
with pressure, and competition, and your body, and goals,
and friends, and enemies, and rivals, and dedication, and
lack of dedication, and that to me is a bunhead. There you
Moderator Sutton, the recent additions to the cast, Jeanine
Mason from Season 5 of So You Think You Can Dance, as well
as Niko Pepaj, great dancers, great performers, but whatís
it like working with two other relatively new actors and
actresses in the show? Do you or Amy, are you able to pass
on a little bit of some of your knowledge from your
experience in the business?
S. Foster Well, I have to say that I am a huge So You Think
You Can Dance fan, and Amy told me that they were casting a
new dancer and her name was Jeanine, and I was like, ďIs it
Jeanine Mason?Ē And she was like, ďYes.Ē And I was like, ďOh
my God, sheís my favorite dancer from So You Think You Can
Dance.Ē And sheís the most lovely, the most wonderful woman,
and sheís the most exquisite dancer, and itís just been
awesome to have her on set. I donít know, I donít ever think
of myself as having lots of wisdom to pass on to people, but
Jeanine has just been a joy to work with, as well as Niko,
Nikoís been really great, great additions to the company and
yes, itís just awesome to be able to watch her dance and to
Moderator Amy, what kind of words have you been able to
impart in order to help your young cast?
A. Palladino Iím very Spencer Tracy in my, ďSay the words
and donít bump into the furniture.Ē But the thing that this
show imparts organically to young actors is a sense of
youíve got to be on yourĒ A GameĒ 24 hours a day. Youíve got
to come prepared. You have to know your dialogue. There is
no room for, ďOh, Iím late today. I donít really know my
script.Ē Thereís just no room for that here. Itís a very
disciplined environment because of the amount of work we
have to do and the short amount of time we have to do it.
What I do think that Sutton Foster does not realize that she
imparts organically to anybody who comes on the show is an
incredible sense of work ethics, of discipline, of respect
to other actors. I want this show to take these four actors
and send them out in the community with an unbelievable
respect for the process. Our actors, they are there for off
camera dialogue for other actors. That is a gracious thing.
That is gracious acting. There is no understanding in their
reading off a script, which is sometimes a very common
practice and something that I find ridiculous, because
actors need to act off of other actors. Actors need to be on
time. They need to know their stuff. They need to really be
on top of their game so that they donít ruin something for
somebody else, as well as stunt their own growth. And what I
believe I see on this show is kids rising to all sorts of
levels of preparedness, working hard, good attitudes, not
complaining when the hours are long or when we do a lot of
takes, or just sort of that youthful enthusiasm of this is
exciting and itís fun, and what a great job I have.
And thatís something you learn from the top. When your star
walks in with that sort of attitude, you canít help but rise
to that challenge. And whether or not Sutton takes them
aside and says, ďListen, kid, this is how you do it,Ē itís
teaching by example, and itís an unbelievable gift that
sheís giving these kids because these girls are going to go
out into the world and theyíre going to go out and do other
jobs and other directors and other producers are going to be
like, holy cow these arenít real prima donnas. These are
girls who are coming to work. Theyíre coming to play.
Theyíre bringing ďA GameĒ. I think thatís going to last them
a really, really long time.
Moderator Hi, again, ladies. My question goes to Sutton. We
know that youíve won two Tony Awards for your roles on
Broadway, what is it like for you to be recognized as a Tony
Award winning actress, what does that mean for you?
S. Foster My goodness, I grew up, as a kid I would practice
my Tony speech in front of my mirror with my hair brush and
you would dream of what that would be or how that would feel
like. And itís interesting, because I have two Tonys in my
house and theyíre sitting on my shelf, and sometimes I look
at them and say, oh my God, that happened. I still feel like
that 15-year-old kid in front of the mirror, and so much of
my life is really about moving forward and trying to keep
expanding creatively, and so it is an honor to be known as a
two-time Tony Award winner. Sometimes people say that, and
Iím like, what? It doesnít quite permeate. I think my
perception of myself is different from what other people
think. I just see myself as someone trying to do the best
work she can do and be a good person and move forward in
life, so I donít walk around with my Tonys as earrings, but
it is an absolute honor of course.
A. Palladino They would make great earrings.
Moderator So you donít measure your success by the awards
that you win? Do you have another standard that you use to
measure your own success?
S. Foster Actually, yes, because awards, thereís a lot that
goes into awards. If you measure your success on awards, or
popularity, or celebrity, those can be incredibly
superficial goals, I think. But if you measure yourself on
whether or not you are respected by others, or whether or
not people want to work with you, or whether or not you have
a full, illustrious, long career, those are the types of
goals that Iím here for. Iím in it for the long haul. I
donít want to retire. I want to work forever. And I want to
challenge myself as an artist, I want to keep growing, yes,
I guess I donít measure my success on anything other than
just hoping I never stop.
Moderator Sutton, you had a lot of interesting co-stars in
the beginning of the season, tell me about your most
difficult one, what was it like acting with a possum?
S. Foster Well, the first thing they told me about the
possum is they said,
ďHe bites,Ē and I was like, oh, wonderful. And I had to have
my feet under him, and they were like, ďWhen he gets nervous
heíll bite the blanket.Ē So Iím like fantastic, wonderful,
and so they had all these blankets to protect my feet. And
sure thing, as soon as I put my feet in, he started biting
the blankets. It was hilarious.
He had two handlers, so I was on the bed and then there were
two people on either side of him, so if he lunged and
attacked my face or something I think they would have
grabbed him. But he was a very nice possum. Iíd never been
that close to a possum before. But that was definitely one
of those moments that you write in the record book for
posterity, but that was great. I think my favorite co-star
of all is Kelly Bishop ... .
Moderator Oh, whyís that?
S. Foster Because sheís, I donít know itís hard to explain.
Itís easy when weíre together, itís easy to work. We have a
really wonderful rapport off screen and on screen. Itís like
one of those things you donít want to talk about too much
because you donít want to break the spell. But then also you
want to bottle it up forever because you want to be able to
have that type of rapport with everyone that you work with.
But sheís just a joy to work with, I just think the world of
her, and we have a really great time together on screen.
Moderator Sutton, just a little bit more about when you
talked about New York City being the center of everything
that you wanted and so forth. Tell us two phases, first,
when you first got there what did it feel like then, were
there any misgivings, were there any bad points when you
first got to New York? And then second of all, just reflect
on that phase where you did Thoroughly Modern Millie and all
of a sudden everybody was talking about you and you were the
center of New York all of a sudden, what does that feel like
for a kid when that happens? But first tell me when you
first got there.
S. Foster I was always the kid who would leap into the pool
but didnít know how to swim or have a floatie, so I would
gleefully jump and then drown. Thatís sort of my motto in
life. And so when I first moved to New York I was like,
ďWhee, Iím going to take over the city,Ē and I was in line
at every open call I could go to, I made an idiot out of
myself in hundreds of auditions, but I was very ballsy and
very brave and every time I fell down I would brush off all
the bruises and get back up and try again, but I was a
totally gypsy. I literally would get up at 5 a.m. and stand
in line at open calls in the freezing cold and go to cast
calls and I climbed the ladder, and I did tons of ensemble
work, and my motto really starting out was take every
opportunity except for porn, to say yes to everything and it
didnít matter what the script, I just wanted to learn. I
just felt like I needed to learn. And I just wanted to work
with people and watch, but I was an ensemble girl, an
And then when Millie happened I was 26-years-old and my
entire career changed. Again, I think my naivetť and my
greenness served me well, because I really didnít know what
was going on, other than ďOh, now Iím the star of a big
show.Ē I didnít realize there was $10 million riding on it
and that everyone was going to look at me and write about
me, and I think my greenness really served me well, because
I was just plowing forward.
But yes, my whole world changed, and it was hard. I have to
say, some of my hardest days were doing that show, because
all of a sudden people are writing about you and theyíre
writing good things and theyíre writing bad things and
theyíre scrutinizing you, and I was like, I should be on top
of the world and suddenly I feel like Iíve let people down,
or Iím less than. It was really, really hard and I had to
readjust my whole thought process about reading reviews and
listening to what was written, and I kind of stopped all of
that because it was taking away my experience and taking
away my joy. You know, you dream your whole life to star in
a Broadway show, and then youíre like, oh my God, Iím so
depressed and you cry. So it was definitely a big life
Moderator Sutton, we know that you have a love of music and
you have recorded an album. Can you tell us just a little
bit about that side of your career?
S. Foster Yes, Iíve actually done two albums. One is a live
album from the Cafť Carlyle, and the otherís a studio
recording. My music director and collaborator from
Thoroughly Modern Millie, Michael Rafter and I have been
working on collaborating music for ten years now and itís
just an awesome passion of mine. I always dreamed of having
an album, a solo album of my own artistic expression, and
weíre actually working on a new album right now and weíre
scouring and looking at hundreds of songs and really trying
to pick the right repertoire of what we want to express
right now. Itís just a great way to have some sense of your
own creative control in a business where you feel like you
donít often have creative control, so itís wonderful to be
able to produce something that is a direct expression of
myself. So, yes, weíre hoping to record a new album in the
Moderator Have you been able to use your musical talents on
Bunheads, or would want to?
S. Foster A little bit so far, yes, and hopefully some more
in the future. The show and Amy, itís already afforded me to
be able to sing, I think Iíve sung three times on the show,
and hopefully Iíll do some more in the future.
Bunheads Official Site:
is the tale of a Las Vegas showgirl, who impulsively marries
a man, moves to his sleepy coastal town, and takes an uneasy
role at her new mother-in-law's dance school. From
Executive Producer Amy Sherman-Palladino,
the creator of Gilmore Girls, the series is headlined by
Tony Awardģ-winning actor Sutton Foster and features
Bunheads photos and video clips
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