That's the most difficult issue for me... to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
I don't care about the money. I'm just interested in the perks. I'll do a series if I am picked up by a limo, work only until 4, and the show is shot in Hawaii.
I have always stuck to my guns about what I want from the work and what interests me. I've never been seduced down the evil path. The path of taking the money.
All that running around in my underwear put money in my pockets. I can focus on working in interesting movies without having to worry about supporting myself.
Some people find an interest in making money, and though they appear to be slaving, many actually enjoy every minute of their work.
I'm not a scientist. What I find interesting about my work is how, as a designer, I sit between science and the consumer and can see both a need and a solution.
All of my work has been about ideas of utopia and dystopia. I think that's what gives America interest. It's many things all at once. It's such a complicated society.
Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It's something I will always do.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
Whether I'm painting or not, I have this overweening interest in humanity. Even if I'm not working, I'm still analyzing people.
When I define polarities in my work, I actually create the space between things. I point to the question I am actually interested in, without naming it.
Interested listeners have only to hear the recording to find out if those guys, who go to such pains to undervalue my work, are right. All people have to do is listen to realize it is a beautiful record.
An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict.
My goal as an actor has always been to reach a level where I can find a lot of interesting work, and I think I'm at that point now. The Oscar has given me a lot of recognition.
I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
I believe that we have been doing this not primarily to achieve riches or even honour, but rather because we were interested in the work, enjoyed doing it and felt very strongly that it was worthwhile.
I think you just have to cross your fingers that there's enough artists out there that keep producing interesting work, and eventually it will form a kind of wave that will force people to pay attention to it.
The work evolves when you get another part, and then you're getting called on to solve difficult characters, to inject a note of humanity into them. It's more interesting for me to do that than to stand around and be sunny.
On the surface, it's really easy to dismiss certain characters, but sometimes you find that the most interesting parts are disappointingly shallow. It's your job as an actress to pull that person apart, and work out why they act the way that they do.
For me it was sort of career suicide to work in color, but I did it because I perceived myself from an early stage to be interested in seasonality - the changing of the seasons - that's what I deeply loved.
