Every so often, if I'm in a melancholy mood, I'll sing 'Desperado' in my shows. I'll sit alone at the piano and play it as a solo. The song feels like an old friend - except now it's saying, 'You were a desperado once, but you worked your way out of it.'
We're perfectly willing to trade away a big payoff for a certain payoff.
I find the lure of the unknown irresistible.
If I sit down with an electric guitar, what's going to come out are Sabbath/Zeppelin type riffs, but if I'm sitting behind a piano late at night, I might write something like 'Desperado.' You're not going to write 'Desperado' between a wall of Marshalls and thumping, crushing volume.
There has been a stigma around letting movies be seen on home screens on the same day as theatrical screens. Universal said they were going to do it with 'Tower Heist,' but they backed off when challenged by the theater owners. I understand where the theater owners are coming from on big studio movies.
For me, there has always been the irresistible lure of a secret.
I like heist movies. I like action movies that set all the elements into one and a chance to do something that comes from a great stable of writing.
I want to score more than 30 goals, but I would prefer to score 15 or 20 and get the Premier League or one big trophy.
'Tower Heist?' That is a movie that it's hard not to name-drop, but, it's a crew of five, and it's Ben Stiller, Eddie Murphy, me, Matthew Broderick, and Casey Affleck. And we're like, on a heist.
We're all so jaded. We've seen so many movies. We know what's going to happen in every single movie. I mean, there are some movies where I'm like why do I even need to keep watching? And so, if you can make a movie in which you're completely surprising the audience left and right, and left and right, then you've won. If a jaded film critic or reporter or an audience is like, "I didn't see that one coming," that to me is like a victory.
I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.
I'm very motivated by the occasional creative payoff that comes when something goes really well, be it a song, a recording or performance. The payoff is enormous - when you get it. Most of the time, though, I'm filled with self-loathing and general frustration at the limitations I have as a musician.
All heist movies are about gadgetry, ultimately, which feels very queer.
When you're in prison, there's no hiding. These women are not hiding behind towels and shower curtains. They go to the bathroom with no doors on the stalls. It would actually look weird, if these women were hiding.
Well, it wasn't like I was going to run out and score heroin and score an ounce of coke - but incidentally, on the road, I would usually get tanked up and as stoned as I possibly could to go on stage. And offstage, it would be a demon that would come up about twice a week.
For me, the sound design and the musical score is a big part of what makes scary movies work.