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.
I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.
When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.
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.
The most I ever spent on technology is building a studio - I built one at home in Los Angeles. I can't tell you how much exactly, but the whole process is very expensive.
I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.
You earn very little money on independent films and I'm the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
Besides my son, music is the most important thing to me. I always have music on in my car and playing at house, and I'm in the studio or performing every night. I like Beats by Dre for headphones, and Bang & Olufsen soundsystems.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.
I ran into Snoop one night. I was in the studio later, and I got this beat and thought he would sound great on it. I called him and he came right through that night.
All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.
It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.
