When you're in this music thing, and you got friends involved in this, of course ya'll gonna have disagreements, and that's gon' be the outcome: we gon' fight each other.
Don't get me wrong: I love the great times I had with Static-X, but sometimes the writing/recording process was frustrating for me.
I was supposed to do a film with Bill Shatner called 'Free Enterprise 2.' They were calling me into wardrobe, and they said they are holding off for a while. Then the next thing I knew... either the money dropped out, or the producer ran off with the money. I think it's the second story that's true.
You have to pick your battles on set.
George Harrison and John Lennon were the ones most against touring ... I'd been trying to say ..Ah, tourings good and it keeps us sharp .. but finally I agreed with them
From past experience I wouldn't go out with another musician. With song writing people can be a bit sensitive. Something completely different, like a lawyer, would be good.
The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong.
It's a really bad idea to be in a band and get involved with each other.
I was disappointed with 'My Friend Pinto.' Everyone put a lot of effort into it but the final product was something no one was ready for. The story was altered and a lot of scenes were edited. I got a lot of flak for my performance.
When you get to know an artist, you find out the things that have peeved them over the years, and it's generally the stuff that has to do with somebody not wanting to do things their way in the studio.
I am a perfectionist and the only reason why I started producing is because I didn't want to argue with a producer.
When I was on Saturday Night Live, I was furious at some of the choices that were being made. None of us are all happy about every choice that's being made, but that's another part about being there for a while. You start seeing why they do it, and you've just got to try to get your punches in while you can.
I confess that Roy was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.
There are some actors that I know I won't do a film with no matter how good the film is.
With John Wayne, we argued all the time and we made four pictures.
When you see two writers named on a movie, one of them did some drafts and got the boot.
When you're in a band, inevitably, someone is siding with someone else, and you're fighting over something that happened in the band five years ago.
There were certain things I couldn't do with New Order without upsetting the rest of the band, so I started to write some solo stuff.
With 'Kidnapped,' there didn't seem to be a sure hand guiding it: everything had to be run-up-the-pole, so to speak, and there seemed to be a large committee, every day fighting about what the show was about.
Groups break up because they never got across what they wanted to do personally, and they have creative differences, and egos start to clash.
Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.
If I were doing somebody else's script or I adapted a book by Philip Roth, on set there could be a million different interpretations of the material and people could argue with me. Certainly on Synecdoche, New York we had discussions and arguments, but I felt like I had authority because I'm a writer.
It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.
