When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.
There are so many venues in which stars are exposed today, that we just know much more and the studios don't have the control over stars like they used to, in the 30s, 40s, and 50s.
Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.
The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.
Every now and then, people will recognize me at restaurants or Universal Studios or something. I'll always take a picture with them if they want. I mean, that's what telling stories and acting for a living are for - for the people.
Now on the other hand, if someone is selling a product, opening a dance studio, or has some other aim to help themselves, then I tend to look askance at some of these strange stories from outer space.
I think the executives at the studios today realize that it's easier and safer to go the - to some known territory which is a remake of a successful film. It's less chancy than taking a fresh idea.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
I try to find the right director who won't compromise his or anyone else's integrity, and yet be political enough to give the studio what they want, yet put up a fight to maintain that integrity.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.
Nothing's more exciting than a day in a studio with a string section - or more ruinously expensive. So it's good to feed that habit away from the band, especially if it means more experience for the next Radiohead string day.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
I never saw myself so much as an actor. I wanted to be a cartoonist like Charles M. Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
I prayed to God for help and I put myself in a recovery house called Studio 12. It was for people in the business and you didn't have to have any money to go, which was good because I was broke.
For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.
Everything about it worked, and I don't mean just the movie, but in our experience, we realized there's also a component of luck involved in this business. We had absolutely the most competent people in the studio working on the release and ad campai...
Some people are the greatest people on Earth with good hearts and will get in the studio and make the most negative music in the world for the sake of success. That's what the music business does to you. That's what capitalism does to you.
When you see people who are really good at game shows, the one common attribute is a cool head under pressure: an ability to perform as well in the studio, surrounded by lights and noise, as you do on your couch.
No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama. Fight Club is a studio pic, and I've done very few of those. I've got a feeling it's going to change things for me.
