People tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.
There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.
I was 23 years old. It was a wild time. I was covering everything that blew up - blackouts, Studio 54, son of Sam killer, and all of that stuff.
The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
I'm still shocked when people say, 'You haven't done a studio record in 20 years.' I try to make excuses for it, but the truth is I just wasn't with it.
I like the intimacy of independent films and I like the idea that people aren't being paid necessarily as much money as some one on a studio film.
If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.
I'm in the studio 24 hours a day. It's true that once you get a certain level of success, you become a target. Talk magazine should be ashamed of themselves.
If you think of movie studio executives, say, as society, then I root for the independent producers.
I love Buster Keaton. I was a big fan of the stunt shows at Universal Studios. I'm a huge Cirque du Soleil nut.
The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.
With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.
I have mugs of hot water every morning because the studio is cold, and also because it makes my throat sound clearer.
If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.
I'm proudest of the fact that I've been able to make a few movies in the studio system that are slightly unorthodox and personal. But it's never quite as easy as you dream that it could be.
In a lot of movies, especially big studio ones, they're not constructed in any other way than to get people to like them and then tell their friends. It's a product.
A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.
The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.
Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
I take a lot of pride in my live show and put more energy there than I do in the studio.
