After I do a big movie I get offered big movies. But I always do the weirdest indie.
I want to try and work in different genres with different types of actors, on small movies and big movies.
Cult movies are basically movies Hollywood missed the first time - that they should have gotten - and then the fans got it and made it successful.
I think there have been more movies in the Western genre than any other. I grew up watching those movies.
I like old movies, screwball comedies, vintage clothes, and basically I'm an old-fashioned gal.
I never really thought I wanted to become a movie star.
China's movie industry is growing a lot faster than that of the U.S.
For me, there is nothing more valuable than how people feel in a movie theater about a movie.
I was put under contract. A major studio. I got nominated for an Academy Award. Isn't that ridiculous? I mean, at the age of 18!
I used to sit near Marilyn Monroe in the Actor's Studio. She'd get dressed up because that was her identity. Sad. Those cameras wouldn't leave her alone. She didn't know where to hide.
I write by myself and then deliver the song. Everybody knows, 'Leave Ester alone when she's in her zone.' Give me a studio and the tracks, and I'll call you when the doctor is done.
Generalised anger and frustration is something that gets you in the studio, and gets you to work - though it's not necessarily evident in anything that's finished.
I need to be working with the art world in N.Y.C. as much as I need to be working in my studios in Chicago and rural Wisconsin.
Stripping her of her name had been almost as satisfying as removing her dress.
I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.
The best advice he gave me was to carry on. It would have been difficult to set foot back inside a TV studio if I hadn't carried on - I don't know if I would have ever gone back in.
I thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
When I was 12, I was doing competitive jazz, tap and ballet in Michigan. The studio put the best dancers together, and I joined that. We always did really, really well in local competitions.
It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!
My son and I run a string company, and he has a studio there, and I go down sometimes and we'll record.
Democracy in the studio is overrated. What you wind up getting is compromise on everybody's part, which means that nobody has their way, and that means nobody wins, including the fans.
