I've always been drawn to stories and telling them; whether it was through being a part of theater when I was a little kid, or film, or with music, there's just been an innate desire to feel that connection.
With Dick Smith there, and the words of Peter Shaffer... they've got to be the most beautiful descriptions in music ever written on film or in literature. And we could hear the music accompanying the words... What more can you ask for?
I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.
I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.
If anyone can figure out how to balance my celebrity and my dual careers in music and film, it's me. I don't feel frightened; I feel challenged.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonist's taste in music, or we're told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.
I do like to be creative and I'm very lucky that I've been given different areas in which I'm able to do that - whether it be film or television or theatre or whatever. I'm also still into music and recording.
Jerry Bruckheimer is the most hands-on producer that I've worked with. Jerry's very involved in the music, and he's such a fan of film. When you watch him playing back the cues to the picture, he's like a kid in a candy store.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
Someone's career that I admire would have to be Justin Timberlake's because he started off on Disney and he made this huge film career and huge solo music career. I really respect him as an artist.
I try to make films that I find exciting. It makes me want to get out of bed at five in the morning, have my make-up done and play for the rest of the day.
To be honest, I owned one suit before I filmed 'Mad Men' - the one suit that you have to have as an adult. Outside of that, I never really felt comfortable in a suit.
Ever since the romantic comedy-drama 'She's Gotta Have It' antagonized black women and black men in 1986, Spike Lee's films have enjoyed the outrage of various groups.
Men want girls. Most men want little girls. They want them in film. They want to look at them. That's all they want. An evolved man is not going to look that way.
Hollywood usually doesn't have strong woman in films like that, and it's stupid, so for the most part they're usually being directed and written by men.
In 'Friday Night Lights,' the relationship between the coach and his wife, that marriage was something that you couldn't really understand until you actually saw it exist on film.
Becoming a producer enables you to empower yourself, to make the film that you want to make. I have desires to make movies - I have movies I'm developing, and things that I'm interested in.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
An often-repeated assertion in the body of film criticism I have written is the assertion that movies do not just mirror the culture of any given time; they also create it.
