I worked with Dionne Warwick, did shows with Bette Midler, and then I did the 25th anniversary of the Rock and Roll Hall of Fame with Springsteen at the Garden. It was all important stuff because you want people to know you can work, you can sing, and you can still look good!
I like to live life and not work every second of the day, and spend time with my family and stuff like that. Balance is very important for me.
Learning great works like the Liszt Sonata or Beethoven's 'Hammerklavier' should be a struggle to a certain extent, where you need to labor intensely with your own brain and soul for the meaning of the work instead of cutting and pasting a bunch of stuff together from the Internet and - boom! - there you are with a performance ready to go.
If there is anything good to be said about my particular line of work, it's that we get to tell people the news they need to hear, and to put it in context. To get to that - for one hour every night on the 'PBS NewsHour,' and for an additional half-hour every Friday night on 'Washington Week,' we have to slog through a lot of tough stuff.
The worst thing about Halloween is, of course, candy corn. It's unbelievable to me. Candy corn is the only candy in the history of America that's never been advertised. And there's a reason. All of the candy corn that was ever made was made in 1911. And so, since nobody eats that stuff, every year there's a ton of it left over.
We could talk, act, and dress funny. We were excused for socially inappropriate behavior: 'Oh, he's a programmer'. It was all because we knew this technology stuff that other people found completely mystifying.
I was playing pretty boys and these angelic roles like Nicholas Nickleby and all that stuff. And I was like, 'What am I doing? This isn't who I am, as a man or an artist.' I had to overcome people's belief that I was too pretty to be a badass.
It's a form of bullying, in my opinion, to make sure that your kid gets the best grades, the best jobs and all that sort of stuff. I just want my child to be happy. I want him to do his best and trust God in the rest, but I'm not going to bully him.
People can see that we are part of a tradition of absurd comedy, stretching from Spike Milligan and Peter Cook through to Monty Python and Vic Reeves. We're not like Ricky Gervais's hyper-real cringe comedy. We're at the other end of the scale, but there's room for the sillier stuff, too.
I made a living for 10 years making very typical TV commercials. But I always wanted to reach beyond that and do stuff that people might relate to in the way they relate to my nonbranded content.
There's a certain darkness to Slipknot, but at the same time, there's a very strong dose of positivity. Stone Sour is the same way. There's a certain melancholy that comes with the slower stuff, but at the end of the day there's also that other side that is very positive. It's all how you deliver.
I took classical piano for a couple of years, but I sort of lost interest - I couldn't read a note today if I tried. I still enjoy that stuff, and I think I naturally gravitate towards the classical licks; in fact, I know that I do. I gravitate towards the classical licks that I heard by famous old composers.
I'm not good at watching stuff that I'm in at all. I should stop. I shouldn't watch something for the first time with a room full of people at Sundance. It's not a good idea.
I was raised vegan. My mom would always make quinoa with squash and kale, hippie stuff like that. Now I eat meat, but I try to be conscious about where it's coming from.
I remember having to quit school and quit my job. I just sort of moved all my stuff into other people's places. Within, like, six months, I was able to earn enough money from touring to rent a place again.
Physics is often stranger than science fiction, and I think science fiction takes its cues from physics: higher dimensions, wormholes, the warping of space and time, stuff like that.
The really interesting stuff about virtuality is what you can measure with it. Because what you can measure in virtuality is everything. Every single thing that every single person who's ever played in a game has ever done can be measured.
For me, I prefer to work on my own. I feel like I can tap into a more genuine place, and I feel like my best stuff comes from writing on my own in my own zone.
Most of the stuff I try in a game, in the moment, I have supreme confidence I'm going to execute it.
I'm a lesbian. Yup. Hundred percent. Hundred percent. I remember being in college, and I had fallen in love with this woman, and I remember sitting in my dorm room saying out loud to myself, like, 'You have enough problems. You are not gonna let this happen.' You just kinda, like, stuff it away until - well, some people stuff it away forever.
I never, ever drink while writing. Never have from the start, and I'm happy that I never have to. A lot of my stuff is plot-driven and mathematical, and I think you need a clean and sober mind to pin down the logistics of that.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
I'm my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error... failing at a lot of things has taught me how to succeed at them eventually... you roll with the punches.
I had no real respect for good technique because I didn't know what it was. I was self-taught, so that stuff didn't matter to me.
The older I get, the less I know. By that I mean the less I am sure of. I view people with strong opinions on the big stuff with distrust. I don't think we should have certain certainties on faith and politics; I think we should be open-minded.
The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.
When no one knows you, and you're just trying to break into stuff, it's so good because you can write whatever you want and just say it; it's just between you and the audience. There's no process or worrying about anyone else interfering with what you're doing.
Fame is one of the potential hazards of this job, but I really just want to make movies. I want to be respected, sure. Who doesn't? But famous-famous? I just don't care about it. And if you genuinely don't give a damn about that stuff, you really are free.
Yeah, I play a lot of their games. Going way back to Bulls vs. Lakers to the later Live stuff, I go at it quite a bit. More than anything tough, I play Madden.
I think it's all about the people who listen to your music, and loving playing and writing. Once you've got those two, and they're your main two priorities, then radio and TV and all the other stuff that comes with it will come. But that's not the be-all end-all.
A lot of the stuff that I say doesn't even make TV because it gets cut out. So if you're at the live events you get to hear what I have to say, but if you're watching on TV, you're only getting about 50% of it.
I want to work on projects that I feel passionate about and do things that are fun and challenging. I would love to do a live musical. I'm not interested in doing the same thing over and over or the fame and exposure that comes with it. When people keep doing that, they just end up doing the same dumb stuff again and again.
I think I was born with a natural way of looking at something and trying to find the ways in which it was odd or funny, Even in the sad or angry stuff, I was, 'Well, but where is the funny part of this?'
For a professional writer in the Soviet Union, it works this way. First, you have to have something to say - that's the main thing. Second, it's a matter of who publishes you. If your book has real stuff in it, readers will ferret it out, even in a Siberian journal.
I was always the new kid in school, I'm the kid from a broken family, I'm the kid who had no dad showing up at the father-son stuff, I'm the kid that was using food stamps at the grocery store.
It's interesting, because I named my first album after my dad because I wanted to find him. My second album was named after my mom because I felt like I learned all my creative talents I learned from her. All the survival stuff, too. And then the next album is 'Maya,' which is not my real name. It's fake.
