Studios never put pressure. They know the kind of films I want to make.
I've never done a big studio film, I've only ever done little ones.
The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.
The studio have always claimed that the ship is the star of the show, especially when they're renegotiating contracts.
I like performing live more than anything. I get a little bit afraid in the studio.
I create women characters by watching the female staff at my studio. Half the staff are women.
The audience-- the book's actual cast-- quickly realized what had happened. The reason the movie dropped everything that made the novel real was because there was no way the parents who ran the studio would ever expose their children in the same blac...
You are just landmark stupid, aren't you? Has Guinness called yet about that world record?
Bob Dylan is quite a songwriter, and a great singer and musician. I won't bother with comparing myself to him, but I will say that I heard his records at a very young age and I still listen to all his records.
I knew that going on 'One Tree Hill' was going to be an incredible vehicle for the record. What is amazing about it is that my role on the show is, you know, basically playing a musician, and all the songs she plays are off my record.
The London games mark the 24th anniversary of my winning two golds and setting the world record in the heptathlon. Someone is going to want it; records are made to be broken - it's only a matter of time. I hope mine will outlive me.
The only album that I listen to upon recording a new one is my 'Cry' album, because sonically, I think it's my best album to date. But other than that, I've never listened to my records, ever.
I have to believe that I know what's best for me. For instance, I choose all my songs. I never record anything I don't want to record. No one tells me what concerts to do.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.
Any artist, when he goes in to record, should have the feeling that any song he records can be a hit. This may sound egotistical, but it makes sense.
Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.
Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.
I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.
I can't go to bed if I haven't done my diary. I always record them just as I've always recorded all my interviews and speeches.
When I started recording, I thought I'd be able to do all kinds of records: jazz, country, dance - and I've always wanted to do a gospel album.
I still want to make a pop record. I want to make a more sonically current pop record. I maybe want to make people move a little bit more.
