My studio, nicknamed 'Funny Farm,' is in a hidden location. It's very private. Not only do I create my photography there, but it is also where I write my books and create music.
After being in a studio, working on games stuff, I'm like, 'Oh my God, I wish I could just sit in my room for a week and listen to music and draw by myself.'
I have spent probably years of time waiting in studio lounges - waiting on a mix, waiting on my time to sing, waiting on, waiting on, waiting on. That's just the nature of life.
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
If the night's right and the people are right, of course I want to be out, I want to be socializing. I don't want to be in my studio 24 hours a day for the whole rest of my life.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.
I love the new technology. New things give you a reason to want to go to the studio. New challenges mean you have to keep up, you know?
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.
We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.
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.
