A Quote by Michael Stipe
When we signed with Warner Bros., they knew what they were getting. They knew they weren't going to get some easily manipulated prepackaged pop group. That was not going to happen. What they wanted, I think, was the integrity that we had to offer. What they wanted was the kind of street cred or cache that R.E.M. could bring to them and the chance that we would give them a hit or two. What happened was we gave them a bunch of hits. And we became huge.
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I actually think I left 10 to 20 pounds on the stage, because it went up pretty easily. Seven hundred has been an accomplishment I've wanted for a while, but the last few months, as my training has gotten better, I knew this was going to be a reality. That's when I knew I was getting close and this could really happen.
My mantra was to educate people - to actually give them the know-how they could use - and to do it in a very subversive kind of way. I would entertain them, and I was going to teach them whether they knew it or not.
When I finished the Boston race in 1967, there were two things I wanted to do. I wanted to become a better athlete because my first marathon was 4:20. In those days, that was considered a jogging time and I knew people were going to tease me. But I was more fascinated with what women could do if they only had the chance.
I mean I always wanted to get tattoos, that's why I got them kind of fast. Because I already knew what I wanted and kind of where I wanted to put everything at, just had to wait for the right time.
But having more freedom she only became more profoundly aware of the big want. She wanted so many things. She wanted to read great, beautiful books, and be rich with them; she wanted to see beautiful things, and have the joy of them for ever; she wanted to know big, free people; and there remained always the want she could put no name to? It was so difficult. There were so many things, so much to meet and surpass. And one never knew where one was going.
I always knew that I wanted to work and I knew I wanted to be a singer and an actor. I knew that every choice I made would help me get to that point. So the better the choices I made, the more of a chance I would have to get to where I wanted to be.
I wanted to be the first female, young teenager producer, and it didn't happen. And when it finally did happen, I was shelved because I was signed to Warner Bros.
At MGM, you knew you were going to be working next year; you knew you were going to get paid. But I was too ambitious musically to settle for it. And I wanted to gamble with whatever talent I might have had.
If people really knew what they were getting into with their third chemotherapy treatment, or getting a pacemaker when they're 92, if they really knew what that was going to mean, they might say no, and we should give them that information.
And Paul Moravec, not being a theater person, would always trust me when I said things that I am like, "you're going to need another 10 seconds of music year to get them across the stage." But I always knew that the people were going to be coming to hear his music of which my words are going to be a part. It was clear that he wanted to go and direction A., and I wanted to go and direction B. We would've gone and direction A. That's the most important piece of advice I can give to anybody who finds themselves in an opera, or musical comedy situation like that.
I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)
For my very first movie, 'Roger and Me,' I made it as part of my deal with Warner Brothers that the four people that were evicted in that film, that Warner Brothers would house - would pay their mortgage or their rent for the next two years to give them a chance to get on their feet.
I wanted people to trust me, despite anything they'd heard. And more than that, I wanted them to know me. Not the stuff they thought they knew about me. No, the real me. I wanted them to get past the rumors. To see beyond the relationships I once had, or maybe still had but that they didn't agree with.
Blake & Murphy were winners, I was a winner, and winners usually gravitate toward each other. They helped me, so I helped them in any way I could. I knew they were able to retain their NXT Tag Team Championship on their own, but when the matches weren't going the way they wanted, I made sure to step in. We were an unstoppable group.
I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.
My folks were very practical. They were also kind of able to think outside of the box. They were not going to let circumstance paralyze them. They knew sometimes you just had to take some new initiative. I think they passed that on to all of us... If you don't find a way, you make one.
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