I play a lot of instruments. I write all my own music. I spend hours and hours a day in the studio. I'm a producer. I'm a writer.
I like the gritty parts of fashion, the design, the studio, the pictures.
I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
I have got an anthology album out. The American version has got the same mixes but the European version, I remixed them in the studio and added a couple of things that I have always wanted to add.
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.
What I've learned in my life, it's a very interesting social study for me, to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character, and when I'm home, my character really changes quite a bit.
There were times at the start of it all when I would be standing, terrified, in front of the cameras and people I considered 'real' actors. I had no idea what was happening, what the guy with the clipboard did, or if people in the studio were looking at me because it was their job to look at me or because they thought I was making a mess of things.
I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, literally.
I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
The more money you spend, the more you need to make back, and the more pressure there is to appeal to everyone - which to the studio means that the specificity and uniqueness must be watered down. But I think mass audiences like things that are more specific and tend to have a voice, like 'Napoleon Dynamite' or 'Superbad.'
I had this little rap group, and we were called '2 Too Many'... We used to hang out in front of Jazzy Jeff's record studio every day.
For me, Memphis has always been a city that holds a great deal of meaning and also leads me to a lot of thinking. Besides Sun Studio, which helped put rock n' roll on the map all over the world, the legendary Stax Studio also called Memphis home.
You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.
With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal.
I don't think about whether it's gonna be a dance record or a ballad or anything when I'm making music. I sit in the studio and I think, 'How am I feeling today?' and I write how I feel. It's really, really simple.
I'm a studio rat.
I also have a recording studio that I use to produce bands.
All these movies are observational comedies. I see somebody, maybe a dry cleaner, and notice how they are. Maybe I'll decide to turn a person with those traits into a studio chief.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
If I'm not on tour or in the studio, I'm in nature somewhere, usually some kind of ocean. Playing music has afforded me that. It's not lost on me that it's a tremendous opportunity to be able to spend your life being surrounded by nature.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
Studio chief Winfield Sheehan wanted me to remain a little girl. If I lost my innocence, he said, it would show in my eyes.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
I have made a career out of my hobby, which is an incredibly fortunate position to be in, but you have to have the passion. Even today, I will go down to the studio and start singing for what I think is 10 minutes, and I look at the clock, and it's been two hours.
I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.
Peter Fleming was a famous English traveler, explorer and adventurer, whose non-fiction books were hugely successful. My father owned signed copies of all of them - he and Peter Fleming had become acquainted over some detail of set design at the Korda film studio in Shepperton - and I had read each of them with breathless adolescent excitement.
Everyone's asking if there will be a 'Frozen 2', but at the Studio there's actually been no talk about it!
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
I could not see myself going back into the studio without Tommy Dowd, our beloved producer who passed away in 2002. Then in 2009, Michael Lehman, my manager, really pushed me to meet with T Bone Burnett. I ended up meeting with T Bone in Memphis, and we hit it off right away; I knew he was a guy I could work with.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
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.
The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.
Whenever you fly into Louisville, you see a sign that says, 'It's Possible Here.' I remember my first time seeing it - I think I was coming home from the studio in L.A. - I was working on my debut album, and I just thought, 'Wow, it is possible here.'
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
We want to be a studio that makes a whole bunch of stuff we believe in, in all ranges of scale and time and length, and own as much as that IP ourselves and generate as much of that IP ourselves as possible.
