full transcript
From the Ted Talk by David Korins: 3 ways to create a space that moves you, from a Broadway set designer
Unscramble the Blue Letters
Step one: therapy. I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy. But seriously, taerhpy — you have to know why you're doing these things, right? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, tmmoy Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, and what do you want people to feel like when they experience the show?" It's important. When we get that, we move into step two: the design phase. And I'll give you some little tikcrs about that, but the digesn phase is itarmpont because we get to make these cool toys. I reach into Lin's brain, he rhaeecs into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the wrlod that you think could be a place where we could house your show?" If the answer is yes — and when the answer is yes — we move into what I think is the most terrifying part, which is the execution pshae. The eeioxctun phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I srunhk the Kids" super-sizer mhiacne and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
Open Cloze
Step one: therapy. I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy. But seriously, _______ — you have to know why you're doing these things, right? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, _____ Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, and what do you want people to feel like when they experience the show?" It's important. When we get that, we move into step two: the design phase. And I'll give you some little ______ about that, but the ______ phase is _________ because we get to make these cool toys. I reach into Lin's brain, he _______ into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the _____ that you think could be a place where we could house your show?" If the answer is yes — and when the answer is yes — we move into what I think is the most terrifying part, which is the execution _____. The _________ phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I ______ the Kids" super-sizer _______ and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
Solution
- shrunk
- therapy
- execution
- world
- important
- design
- tommy
- phase
- tricks
- reaches
- machine
Original Text
Step one: therapy. I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy. But seriously, therapy — you have to know why you're doing these things, right? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, Tommy Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, and what do you want people to feel like when they experience the show?" It's important. When we get that, we move into step two: the design phase. And I'll give you some little tricks about that, but the design phase is important because we get to make these cool toys. I reach into Lin's brain, he reaches into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the world that you think could be a place where we could house your show?" If the answer is yes — and when the answer is yes — we move into what I think is the most terrifying part, which is the execution phase. The execution phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I Shrunk the Kids" super-sizer machine and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
Frequently Occurring Word Combinations
ngrams of length 2
collocation |
frequency |
blue sky |
2 |
design phase |
2 |
execution phase |
2 |
architectural standards |
2 |
Important Words
- answer
- beautiful
- blah
- blow
- brain
- build
- conversation
- cool
- design
- designing
- dialogue
- director
- execution
- experience
- feel
- give
- house
- idea
- important
- job
- kail
- machine
- miranda
- monologue
- move
- onstage
- part
- people
- phase
- place
- put
- reach
- reaches
- sat
- show
- shrunk
- step
- story
- telling
- terrifying
- therapy
- tommy
- toys
- translating
- tricks
- world
- writer
- yorker