Every time I get in the studio, I feel like I wanna have some fun. My fun is not doing the easy work. My fun is doing what's me.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
When I'm working in the studio, I like to be on my own because I don't know where I'm going; I want to be completely free to spend lots of time on songs.
I was in the studio so much, it was about the search for air in a metaphoric sense, and the breathing has more to do with travel for me, about the search musically for open air.
I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
Well, Hollywood isn't made up of individual studio heads anymore. It's made of corporations. And corporations are looking for the bottom line. They don't want to take chances. They want the money back for stockholders.
I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.
The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.
When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
I'm always most comfortable in the studio. It's my comfort zone. I love being there, and I love making records.
I love to go into the studio on days when I'm not even doing anything. It's like my senior club. Some people go to senior centers, well I go to my senior center.
I love the road, and I love coming in contact with the fans. They talk to me and that's irreplaceable. But when I get tired, I head to the studio and I am in there for a long time.
Coming from my bedroom in San Antonio to this big world and going from singing covers off my laptop to making music in this nice studio, making professional-sounding music - it's just weird.
I still don't understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.
I'm very lucky to work in so many different arenas of the entertainment industry and I do enjoy them all, but making music - original music - in the studio or live onstage is definitely my favorite thing to do.
I've got to be honest: I don't listen to any music now. I don't even listen to mine! I like to walk fresh into the studio and have ideas that come straight out of me.
Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.
Whenever I have time, I try to get in the studio and write, whether it's for me or other artists or my catalog of music. It's definitely one of my favorite parts of the music industry.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
When I graduated college, I had a fairly successful weekly club gig and was buying more studio equipment and writing my own music. I realized I didn't want to work.
