A Quote by Andrew Lloyd Webber
When we finally came to start work on this, the joy was it was only Joel and I, we didn't have to answer to anybody, and we didn't have to submit a screen play or anything like that. We just wrote it and then made it.
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I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
I've been lucky enough to work with a make-up artist, Joel Harlow, who you can throw anything at. I said, "Joel, I need to go to the London eye with my children and I want to look like a roadie from Lynyrd Skynyrd."
I've always said it's flattering to be desired, just as it's flattering that people accept the reality of the character you play. But it was always ridiculous to assume that because I could play a gigolo on screen I'd play anything like that role off screen.
Manual Lynn? Find out what that is. He wrote every single word in the play, and then everyone just rapped their parts. Imagine if like, Eminem wrote a play, that's what it sounded like to me.
It looked like it might not work out with Michael Keaton, so they asked Joel Schumacher, `Who do you want for Batman?` When he said me, I asked my agent, `Why? Who did they not get?` I`d met with Joel a couple of times before about other (movies). I didn`t know anything in terms of the cast, story or anything, but I said, `Sure, sounds like fun.` - On accepting his role as Batman.
I wrote a play before that and it never saw the light of day. And then I started working on this play and it came out really quickly. Eventually I got it, and I wrote a letter to Sarah Jessica Parker and she wanted to do it. So that's how it happened.
I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.
I've found that the people who play villains are the nicest people in the world, and people who play heroes are jerks. It's like people who play villains work out all their problems on screen, and then they're just really wonderful people.
With every song, all the elements have to work. First, the beat has to be great - you start there. You start with the music, and then the ideas follow. Then you start thinking of rhymes, and then you record it, and sometimes - this happens to me a lot - it doesn't come out as good as it did in my head when I first wrote it.
You go to work, tape five shows in one day and then go home and play golf for the rest of the week and then start the week all over. I thought if something like that came along, I'd love to do that.
When you first come into the league you don't know what to expect. And then if you do, you're ready, but then it's different when you're playing and getting reps. It's just like anything, you start to do something, play it enough and do it enough then you can get good at it.
I mean, I was always hoping to play in the NBA. Of course, when that thing happened, you're like, 'Finally, I did it, but the work starts now.' I didn't want to just be known as OK, I came to the NBA, and then in a few years, you're gone. First my goal was to be the best Slovenian player in the league. Of course, after that, your appetite goes up.
Don't play an attitude; don't play a guy who's negative. Play a guy who's not trying to sell anybody on anything, he's just saying how it is and if you want to come by what he's thinking, you're welcome. If you do not, then do not.
John Wesley tells of a dream he had. In the dream, he was ushered to the gates of Hell. There he asked, "Are there any Presbyterians here?" "Yes!", came the answer. Then he asked, "Are there any Baptists? Any Episcopalians? Any Methodists?" The answer was Yes! each time. Much distressed, Wesley was then ushered to the gates of Heaven. There he asked the same question, and the answer was No! "No?" To this, Wesley asked, "Who then is inside?" The answer came back, "There are only Christians here."
There's nothing like working with the best actors possible, and if you have a piece of material like, 'Long Way Down' or 'Love Punch,' which allows you to play, then it's just a joy to go to work.
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