I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
When I was 15, 16, I studied with Stella Adler at the Conservatory of Acting, then I stopped again and went to the Actors Studio when I was 18.
I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
I don't think that a company should own a studio and the network, and program for their own network. It hurts the creativity - it is not a level playing field.
Hollywood's Studio Era was part of a Golden Age because it didn't need profanity (unlike reality-television today)
As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
Being on my own in a studio is really, really different than making music with the band. I can't say I necessarily enjoy it more, but it was just a new experience for me.
I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.
My family is full of musicians, and a couple of times a year we get together and jam at my cousin's studio. We improvise and have a great time.
I was amazed and upset by the looks I got just walking around the studio... It illuminates the ugliness and the beauty that exists within each of us, and that's what this story represents to me.
Eventually, when I sell enough units, as they say in the record business, I will stop touring. I'll concentrate on what I like to do... stay in the studio.
We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
Movie studios aren't making too many dramas anymore; they're in the superhero business. Material for television is much, much stronger for actors now.
Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
I have a fantastic studio in my home, and it's my biggest toy. I have about a half a million dollars worth of musical equipment in my house.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.
I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.
