Success is so bad for everybody, period. Especially a certain kind of success, when people practically give up their identity. They forget who they are, how they are.
What is success? I think it is a mixture of having a flair for the thing that you are doing; knowing that it is not enough, that you have got to have hard work and a certain sense of purpose.
Also, it's risky to try to duplicate earlier success. Magician had a certain charm to it, mostly due to my choice of lead characters, that I would be hard put to duplicate.
In certain businesses, I would say 10 failures to one success is a perfectly acceptable ratio. Because the failures die pretty quickly, they're not that expensive, and the successes can be really huge.
When we try to push the envelope, there are certain sectors of society that say this is a Zionist plot to sort of destabilize our country, or this is an American agenda.
The idea of a youth-based society that you live in for a certain time and then you no longer live anymore is an interesting idea for a movie, but you need young people that people want to go see.
Even in a society as tightly controlled as Singapore's, the market creates certain forces which perhaps in the long run may lead to democracy.
What we call a democratic society might be defined for certain purposes as one in which the majority is always prepared to put down a revolutionary minority.
There's a certain amount of sympathy here for the Bush administration's problem, which is they would like to get rid of Saddam Hussein and they would like to have the Kurds autonomous.
This technology will obviously become more prevalent. Who knows what will result? One thing is certain, computer technology will revolutionize the way we tell stories as much as movie film has.
'Twilight' was about a naive person who knew nothing of a certain world, basically discovering that this world existed and totally being indoctrinated into it and falling in love with a vampire, which is interesting.
I love the smaller clubs. I love the theaters. I love the festivals. There are things I don't like. At certain theaters, people can't get up and dance.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
There's a certain type of indie fan who would balk at the prospect of there being value in pop music, but I think that's foolish. They're not really listening.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
A lot of musicians aren't proud; they'll do other work, just to be able to play music. I guess that's the way it's always going to be - musicians will have to suffer to a certain degree in order to obtain their outlet.
An Emraan Hashmi film has come to guarantee certain ingredients: An intense, grey central character, a beautiful girl - if he gets lucky, then two - couple of kisses, a few bold scenes, fabulous music and a climatic twist.
No matter what I do, my songs come out in a certain style, and if that sounds like Dead Kennedys, then there's probably a reason for it. Don't forget, I wrote most of those songs, music and lyrics.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
I started growing my audience in small clubs through word-of-mouth. I started making music that isn't necessarily commercially viable, and it's not necessarily marketable to my peers to a certain extent.
