A Quote by Andrew Lloyd Webber
I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.
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...when I came back, I found Mom sobbing at the kitchen table...Then I asked her what had happened. 'Nothing,'she said. 'I was thinking about that man...I started thinking about...if he and his wife and their other child are okay, and I don't know. It just got to me.' 'I know,' I said, because I did know. Sometimes it's safer to cry about people you don't know than to think about people you really love.
I have a degree in cinema studies and the big paper I wrote at the end of that was about Judy Garland and Liza Minnelli. So I thought that I knew quite a bit about Judy Garland, but I read in passing that the Stonewall riots were a reaction to her death and I had never really read enough to know what that meant or how that could be true. I was interested in that I knew so much about Judy Garland, but I really didn't know this story.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
That was the worst thing about having a relationship with someone, even a pretend relationship. You opened up, let someone in, and when it was over, they had all the ammunition they needed to completely destroy you.
[ Lenny Kravitz] is really handsome, and I know I should be objective and think about his music, but up close, he is a really good-looking guy. He was hugging me while I was trying to go to a video, and I completely... You turn into a giddy girl, and it was just horrifying, because he really smelled good, and just the whole package... It's just too much.
I knew nothing about martial arts. And I don't really like it! But in the film, I not only had to pretend that I knew all about it, I had to be the best at it. That was very difficult.
At the point when I wanted to become a designer, I didn't think about, 'Oh, but I'm a woman,' just like didn't think about like, well, 'I'm Chinese' or that 'I'm in Michigan.' You know, none of those things were obstacles to me. I just had this idea that this is what I had to do.
I know this is insane, but i somehow wish i had been in auschwitz with my parents so i could really know what they lived through! I guess it's some kind of guilt about having had an easier life than they did.
My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.
I didn't really like light-skinned people. I'd always thought about a tall, dark, handsome guy. But Bob had something different. He was very disciplined, just like a father figure, which I respected, especially as my own father was away.
I don't know why people don't want to talk about their numbers. I guess in a sense, there's a bit of performer nudity, a bit of ego nudity when you expose your numbers, I guess because someone's are higher or someone's are lower. I've never really talked about the numbers with anyone, so maybe I'm not supposed to.
I think I learned a lot about collaboration and about joint creativity with other people. It is honestly so much fun and I don't think that I would have had the same album if I had just written it by myself.
I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.
The thing about film is it is a very precise form. You know if you have it and you know if you don't have it. There's not really a middle bit where you're like, "I think we kind of have that scene."
As soon as I gave birth, I had, like, 20 kilos, which I think is about 50 lbs., and I realized, 'Oh my gosh - in one month, I have my photo shoot.' So I had to lose a lot, and you know, it doesn't happen in one month. So it took me almost a year because I think, realistically, it takes about a year.
There've been times where, like when I auditioned for 'Akeelah,' I think in the first audition I was a little bit afraid because it was, you know, I had seen girls in there that I had seen on TV before, and I was like, 'Man, I might as well just walk out of here now because I'm just a newcomer,' and this and that.
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