We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.
The fans are very, very loyal. They're always saying, 'When is the next album?' They know when I finish in the studio it's got to be a few years before the next album.
Coming from Ruff Ryders, there would be, like, 30 guys in the studio at once, and then me, trying to do my own thing.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I'm not the only one in the studio a lot of times, so I have my boys in there and they'll tell me and give me their suggestions and what they think.
Well, the Empire State was about 40' high in the studio. King Kong was a little model about 2' high, and the scenery that he worked in was in proportion to his size.
One thing that seems to surprise the studios is finding out later my willingness to audition. Under the right circumstances, I actually enjoy it very much.
I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
I mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.
I was a dancer of no repute. But dance taught me a lot. You walk into a dance studio knowing you have to walk out with a dance. You improvise.
The major studios don't differ very much from one another as they all operate under essentially the same principles and pressure.
I don't get much studio stuff. I'm usually on location, and I know that some people think that acting is so glamorous, but believe me, it's not!
Yet, that's what studios do. If one thing works, they'll keep doing it till it runs its course and people aren't interested anymore.
I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
I'm a big micro manager; I'm a stickler about organisation; everything needs a place, a purpose, and micro managing myself even when I'm in the studio.
Social media is a double-edged sword. I've gotten in trouble for announcing, too soon, something that the network or the studio wanted to do, and it steals some of the thunder, so to speak.
