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

  1. shrunk
  2. therapy
  3. execution
  4. world
  5. important
  6. design
  7. tommy
  8. phase
  9. tricks
  10. reaches
  11. 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

  1. answer
  2. beautiful
  3. blah
  4. blow
  5. brain
  6. build
  7. conversation
  8. cool
  9. design
  10. designing
  11. dialogue
  12. director
  13. execution
  14. experience
  15. feel
  16. give
  17. house
  18. idea
  19. important
  20. job
  21. kail
  22. machine
  23. miranda
  24. monologue
  25. move
  26. onstage
  27. part
  28. people
  29. phase
  30. place
  31. put
  32. reach
  33. reaches
  34. sat
  35. show
  36. shrunk
  37. step
  38. story
  39. telling
  40. terrifying
  41. therapy
  42. tommy
  43. toys
  44. translating
  45. tricks
  46. world
  47. writer
  48. yorker