If it weren’t for this, I’d probably be working a normal job and playing on the weekends for 10 people at the Irvine Spectrum.
I wanted to create characters who could do fantastic things but who weren’t exactly superheros – characters who exist on sort of a spectrum from super-ability to disability.
I grew up listening to my parents’ albums. Many of them were either classical – Bach, Beethoven and Brahms – or easy listening, like Mantovani. I loved the spectrum of emotions in classical music, from fortissimo to pianissimo. My early passion for classical made my drumming more musical later on.
Famously, DC has been pretty great showing gay women, with characters like Batwoman, but has shown fewer prominent men on the sexuality spectrum outside of hetero. It’s something we need to address. I also think it’s lovely how the readers respond to this.
People communicate anger of course through facial expressions, but in voice, there’s a wider spectrum, like cold anger and hot anger and frustration and annoyance, and that entire spectrum is a lot clearer in the voice channel.
I talk about feminism being a spectrum.
Being on a show like Dancing with the Stars for what I do, that is the top of the game. There is really no other job that gives you the satisfaction of choreographing, of teaching and getting the recognition in that spectrum.
I have a soft spot for ‘Wind of Change’ because it was my first one, and it was a departure from Humble Pie – very much so. It showed me the spectrum of what I could do.
After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.
Having people that really reflect the spectrum of American experiences is important to have on the Supreme Court.
I’ve played quite a large spectrum of teenaged girls, from psychotic to very sweet to a polygamist.
