I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
I have been portrayed by actors in three television documentaries, two plays, one musical and a film. It's no fun watching yourself being traduced and imitated by an actor.
A musical film is my idea of heaven. You can pre-record, you don't have to sing live. Singing live was the bit I hated the most. I never felt like a confident singer.
I was doing a Broadway musical called 'Smile' with Howard Ashman and Marvin Hamlisch in 1984/5 when it abruptly closed. Howard was in the middle of pre-production for 'The Little Mermaid,' so he kindly invited all the girls in our cast to audition fo...
I was always into music, but I wanted to do film when I was kid. I remember seeing big movies and wanting to do them. Then I was lucky enough to act in some of them, and I fell in love with it.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you'...
I had seen some films made about the underground music world in Tehran, and most of them were short documentaries about 30 or 40 minutes long. And I always wondered why they weren't publicized more. Really, their only flaw was they were short documen...
I grew up reading the 'Village Voice' and wanting to be one of these multidisciplinary music writers, film writers, book writers. And I lucked out getting a job at the 'Voice' right after college.
There was a time that I was only known for being a plagiarist. It used to hurt at times because there was so much effort I was putting into music. And instead of that, it was a couple tunes that I had reproduced from folk songs to remake as film song...
My secret ambition was always to provide music for animation films: something with an Indian theme, either a fairy tale or mythological tale or on the Krishna theme. I still have a very deep desire, but these sorts of chances don't always come.
Selma: You like the movies, don't you? Bill Houston: I love the movies. I just love the musicals. Selma: But isn't it annoying when they do the last song in the films? Bill Houston: Why? Selma: Because you just know when it goes really big... and the...
If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
All the traditional models for doing things are collapsing; from music to publishing to film, and it's a wide open door for people who are creative to do what they need to do without having institutions block their art.
All of my most significant moments somehow involved music. It's like my life was a John Hughes film and somebody had to put together the perfect soundtrack.
The standardization of world culture, with local popular or traditional forms driven out or dumbed down to make way for American television, American music, food, clothes and films, has been seen by many as the very heart of globalization.
I think each film I do has less and less dialogue. It really helps a lot for foreign sales, because when I go to Europe, there's very little problem with communication. All the gags are visual. The music they can understand, and it helps communicate ...
Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death accord...
I became alienated from this religious upbringing, and started making music. I wanted to be a big star. All those things I saw in the films and on the media took hold of me, and perhaps I thought this was my god: the goal of making money.
Michael Clarke Duncan and I met at a music festival that was honoring films, and we happened to be seated next to each other at the dinner, and we just hit it off and kept in touch ever since. He was just the gentle giant in real life like you would ...
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
Selma: [talking about musical films] You know when the camera goes really big and it comes up out of the roof, and you just know that it's gonna end? I hate that.
