I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
I just like to do covers, every once in a while. If someone pays me to go into the studio, I'll do it.
Sometimes I hear a drum groove in my head and I rush down to my studio.
I don't think that Simon and Garfunkel as a live act compares to Simon and Garfunkel as a studio act.
I like being in a recording studio. I like watching a song go from the simplicity of the original music.
Whenever I'm home, I haven't got any makeup on. But even in the studio, before I do vocals, I put makeup on.
I mean, there are some amazing storytelling being done on the small screen right now. That's what so cool about being in television right now. Studios, networks are starting to throw more resources, better writers, more production values... and to be part of that is awesome.
Secondarily, I think films that are driven by music also terrify studios.
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.
I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.
Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.
That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
The studio have always claimed that the ship is the star of the show, especially when they're renegotiating contracts.
I keep waiting for a paradigm shift to happen that will let network and studio execs see that sci-fi is the same as any other genre in terms of how you approach it - logically, character-based, with challenging ideas and forward thinking - but I worry that it might never happen in my lifetime.
I don't wear a wig. I'd feel terrible onstage with a wig. I hate to be so 'Actors Studio'-ish, but I like to feel it's me out there.
Writing 'We Are Never Getting Back Together' was one of the most hilarious experiences I have ever had in the studio because it just happened so naturally.
I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.
I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
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.
For years it never occurred to me to question the judgment of those in charge at the studio.
The Hollywood structure was monopolistic, run by four or five big studios.
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