I never work from the script. I get the script more or less.
The Japanese actually approach the music on a high level. It's always been on a high level.
I learned the life of business, commerce - it's an art.
I have wit in my work and a sense of humor, but I do not use irony in any way.
I don't think my film style has changed. I'm doing the same kind of jokes I did when I was younger.
Theo van Doesburg wanted to teach in the Bauhaus in 1922. I refused, however, to appoint him since I considered him to be too aggressive and too rigidly theoretical: he would have wrought havoc in the Bauhaus through his fanatic attitude, which ran counter to my own broader approach.
I never had any master plan about directing, and I don't really write.
I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.
I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.
I never rehearse. Never! I think it's a waste of time.
It's not like somewhere along the way I decided to be a total formalist in terms of music and to not care about content; the content is going to be there whether I try to make it be there or not, and I can have fun and see what happens.
I'm hoping that "Nothin' On You", "Billionaire" and "Just The Way You Are" - songs that I produced... I hope that it's a warning for people. I hope it lets them know that I'm a little unorthodox when it comes to genres and styles.
The way James Franco goes to new projects, he does it the way an artist should, which is with a question mark. Like, will this work?
You know, with the film industry crews, there's an odd mix between a very technical and a very artistic approach to the work, and sometimes as a woman you have to be a little bit careful about how things come out because people don't really want to listen if it's in a certain emotional tone or too strong.
I suppose in some ways doing some of the songs in the show felt a bit like I was doing cover versions. I was covering myself. Not that they didn't feel like my songs, but the way I was approaching them was from a place so outside where they were written. The fact that these songs were in the context of a live show was a new thing.
We know we have a method of reaching people, but we have never wanted to preach. We like to make our views palatable, music that is easy to swallow, and I think we've done that.
A long time ago, I stopped trying to look at projects as genre exercises.
So for me the approach has become to go into a story not really sure of what I want to say, try to find some little seed crystal of interest, a sentence or an image or an idea, and as much as possible divest myself of any deep ideas about it. And then by this process of revision, mysteriously it starts to accrete meanings as you go.
I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
I never started from ideas but always from character.
I don't really like to think too far ahead when it comes to the music.
I'm not an artist that makes singles, I'm an artist that makes albums, and it's a totally different thing.
The truth is, I don't sketch much at all. I have a very visual/spatial brain that retains a lot of information about maps, directions, positioning, and details, so I usually prefer working out those issues on the page itself.
Well, I feel that we should always put a little art into what we do. It's better that way.
