I worked with Sidney Lumet years ago, and we had a long rehearsal process, and he would tape out the entire set on the stage, so I stole that from him.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?
Sidney Poitier and Sidney Lumet were instrumental in helping me get started as the first black composer to get name credit for movie scores.
A couple of years ago this guy called Ken Brown wrote a book saying that Linus stole Linux from me It later came out that Microsoft had paid him to do this
I would have had my patent long, long ago, and it would have run out long, long ago. I would have made, maybe, $100.000, much less that the patent has brought me now.
If I think back to every rehearsal process for every play I've ever worked on, there's just so much crying at home. I barely sleep. There are moments of deep despair and anxiety, and then there are moments in rehearsal that are the most exhilarating; feeling seen and seeing everybody. Feeling like you have a purpose on the planet. A huge part of the process I enjoy is watching the actors figuring out what they can handle and what they can take and what they need from the director and me.
Listen, there are some movies that are set in stone and the writer or the director does not want to change, but I've never worked on a movie, including my own, that didn't take advantage of a rehearsal process.
It's fun, I didn't have enough money as a kid to buy a drum set, so I had to do something. I would mimic the sounds. That was it. And it worked. It worked for years.
If you would have asked me three or four years ago when I started wrestling whether I would have worked for any other company than WWE in the long-term, I would have told you no.
Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.
I'm a huge fan of the films of the '70s and even into the '80s, Sidney Lumet, all those films that used what was going on in people's lives as drama. And not only are you entertained, but hopefully have a greater understanding of your world coming out of it.
I famously stole tons of VHS tapes from a video store I worked in. It was detailed in my special, Laboring Under Delusions. I worked at Tower Video and stole a bunch of videotapes from them, and then got caught and had to return the videotapes. It was a mortifying experience.
Tape with LTFS has several advantages over the other external storage devices it would typically be compared to. First, tape has been designed from Day 1 to be an offline device and to sit on a shelf. An LTFS-formatted LTO-6 tape can store 2.5 TB of uncompressed data and almost 6 TB with compression. That means many data centers could fit their entire data set into a small FedEx box. With LTFS the sending and receiving data centers no longer need to be running the same application to access the data on the tape.
I approach 'Fast & Furious 6' the same way I would approach a Sidney Lumet film. Getting into character's getting into character.
A few years ago I appeared on GLEE and, Jane Lynch and I did a remake of the song that was very popular - someone told me it was in the Top 100 when it was released. First, walking on the set of GLEE the day we filmed it was surreal as they had recreated the entire original set from the music video. It was bizarre - but fun.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.