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The Falstaff people, romantics all, went for it. They were so anxious to find out what I was going to do that they could hardly bear to wait out the two weeks. I was rather anxious to find out what I was going to do, too.
Script comes first, then the actors, then you gotta be lucky enough to get the right time slot. Then people have to watch.
I talk to a lot of people who, when you try to sum them up in a couple of sentences, seem like they must be insane.
If you don't address race, then people are like, 'Why don't you talk about the elephant in the room?' But you have to do it right. It can't be gimmicky.
If someone wants to sticker a record for whatever reason, that's fine. But once it affects someone's opportunity to, you know, get that record, then I have a problem with it.
When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
Every utopia - let's just stick with the literary ones - faces the same problem: What do you do with the people who don't fit in?
I still have people saying to me, 'Oh, you're still together?' They don't realize Leppard's been around this whole time, because people just don't get to hear us.
But also, the guest workers program, it's quite often misused, meaning people could come in as part of a guest workers program and after two weeks in the fields, they'd run off to do every other kind of job that isn't covered by a guest workers program.
