July 26, 1974 |
And the relationships that happen become so intense, deep, involved and complex and really hard to say goodbye to. The hardest part of the show is saying goodbye when it's all done. It really breaks you.
I had the idea for the show like a year and a half, two years ago. And it was all about the things that I didn't like about TV. I was trying to create a positive solution for it. And it actually worked.
Like I said, TLC has enough of my life. I have to keep some of it for myself.
So, like I said, I will visit Jeffersonville more often because I now have a little getaway house up there.
But instead of that stuff you get relationships with people and neighbors that you would never get in a city. People in small towns are a lot more open.
So, to really execute design in its highest form and making people feel joy, that's a great reward.
The Deep South has a completely different history, both good and bad, that is fascinating for everybody. It makes people work together who usually don't, and that sounds like a cliche in so many ways, but it actually happened… and it happened because of a beautiful idea.
I'm a designer, I love it, and I haven't worked this hard to do bad work.
We worked out a lot of bugs and figured out who was working and who wasn't and how this beast functions. It was a lot bigger than we actually thought, and now we have a well-run ship where it feels I can actually have time to imagine and not just stress out about everything.
I will not do work that isn't done well or right. Stuff happens – things break, contractors don't come through – but I don't want to be responsible for not doing something correctly.
Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.
It's about the power of design and the power of the human spirit. It's above paying anybody to do something stupid for money like reality television does – like ambushing people.
Design can have such a positive impact on the way people live and on their relationships and moods.
I'm so used to talk-show hosts just giving you a sound bite and not really being interested.
You need to have a home to go back to, whether it's a hotel room or a barn. It's only home when he's there.
I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.
I'm opening a store at the end of the month in the New York meatpacking district. I'm launching a line of bedding this summer, and I am writing a book that will be out next January.
That was always my frustration with so many of these shows, because design is not an ambush… it's a relationship. You have to know how people move and live and work to be able to design for them.
I had been to the South many times and I thought I knew what the South was, but not until you live with people and live through their lives do you know what it's really about.
I think we typically, as Northerners, stereotype what the South is in so many negative ways. We kind of forget all the beautiful things that they contribute to make this country a country.
Oprah has this intense curiosity that I haven't found with any interviewer.
It's not about doing over the living room of someone who has bad taste in color. This is about restoring historic buildings and instilling pride in a community, which can be done through designing new public spaces and social gathering spots.
There's a big difference between decorators and designers and the training is very different.
You forget how many people watch TV until you come into a town like this. Everybody knows you, and I'm always humbled, especially when there are 500 little kids who all have their hair done like yours and want to be designers.