My producer, Michael Knox, he's kind of my eyes and ears on Music Row. While I'm out on the road, he's looking for songs, and then he and I will get together and go over songs.
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.
It is only in his music, which Americans are able to admire because a protective sentimentality limits their understanding of it, that the Negro in America has been able to tell his story.
My mum especially listens to music in a way that is incredibly feelings-based. There's virtually no snobbery about what sounds are in it, she just wants to hear a song and that is quite refreshing.
Apart from two periods of intense study, of music between the ages of 12 and 14 and of mathematics between the ages of 14 and 16, I coasted, daydreaming, through most of my school years.
I'm working on my music a lot, like folk singing, guitar. It's sort of rocky, folky, alty, angsty. I'm putting a lot of energy into that. I write pretty much all the time.
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.
As an example, one of the schools I have been studying is too small to compete effectively in most sports, but participates with vigor each year in the state music contests.
The thing with Disney songs is they're very manipulative, very sentimental, but they do get you, you know - there's a kind of sadness to them and that kind of music doesn't really exist any more.
Today's consumer is less interested in possessing things and more in experiencing them. That's something the music industry needs to get its head around. Do we even need record companies any more?
Someone like Katy Perry - I like her writing because I listen to music as a songwriter. I like a lot of her songs - like, 'Firework' is a song that I think I could write.
It's interesting, as I said on the last tour in America, the audience actually came out, they had to have been the kind of fans who listened to my music via their parents, you know what I mean?
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.
I think things can have more than one meaning and still connect with people. There's a lot of meaning to the title 'Music For People' and they're all true and they're all accurate.
I would think, to me, growing up in the south, growing up with all the gospel music, singing in the church and having that rhythm and blues - the blues background was my big inspiration.
If you look at the timing of many of the Greek dramas from the theatrical point of view, it's all off, and I think the reason for that is that music played a very important part.
We've made elevator music of Jesus Christ. We've made Him the most boring, bland, blah person; and He was the most revolutionary man.
Out there in the spotlight you're a million miles away and every ounce of energy you try to give away as the sweat pours out your body like the music that you play.
As far as my solo record, I don't want a gold record or anything, I'm happy to be small and to have the people appreciate the music who really like me for being me.
I like to have songs with me that have substance. That's missing from a lot of today's music. You might hear a song with a catchy beat, but what's it about? It's not empowering or helping anyone.
I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.
