I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
'The Dice Man' is an anti-establishment cult novel, and you don't normally make studio films from such dark comedy material.
I spent two weeks prancing around a studio in Queens in my underwear with nine other guys. They were long days. But what the hell, it was Calvin Klein.
I am always surprised at what movie studios think people will want to see. I'm even more surprised at how often they are correct.
Sometimes you can do a TV show on a subject you just can't do in film. Either it's too long or studios will perceive it as not being commercial.
Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.
When I was growing up, I wanted to do Letterman and I loved that live, in-studio model. I still would do something like that.
It irritates me so much the way people talk about soaps because it is far more difficult working on a soap than it is on a big studio film.
I've never had an issue with studios. I believe in them as true creative partners in the process.
There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
Many rock musicians are excellent cooks, I've found, and those that are prefer to eat their own cooking in the studio. I encourage this behavior as I also enjoy the benefits of fresh food.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
Here's the thing with the business, is that when people like your work, and you make them money, you're set. When the critics like you, and you make the studios money, doors opened.
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
Hopefully, I can play both sides of the fence. That's probably what winning the Oscar gives me, the chance to do something with a studio and do other things that I really want to do.
The studio work is the nasty, tedious, hard and nerve-wracking part, interrupted by moments of exhilaration. Playing live is the chance to actually have some fun and get on a stage.
Some people say I appeared on the Phil Donahue show to tell 'my' sex change story but I've never appeared on his show for any reason... not even as a member of the studio audience.
Furnishing a home is no different than going into the studio and making music. You want to make sure you've pared down all the extra details so that in the end, every stitch has a context uniquely yours.
The photoshoot glitz and TV studio make-up isn't the real me. I spend most days at home in Bristol in jeans and a T-shirt running around after the kids or shopping in the Co-op.
