A Quote by Eve Hewson
I think I always knew I was going to somehow be on a stage. I was quite an extrovert, as a child. And I did a lot of music, when I was younger, so I thought I was going to go into music, but I fell into acting, in a really weird way.
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I really love a lot of Japanese music, like Ryuichi Sakamoto and this guy I got really into, Tatsuro Yamashita. When I was a little younger, I thought synthesizers meant Kraftwerk, cold, robotic, weird, Autobahn. But these guys are having a lot of fun on these things. Sometimes. Sometimes it's very somber. They could go either way.
I was an actor when I was a teenager and it could have been the direction that I headed in. But music and my relationship with music is quite deep, and it really is the nucleus of my creativity. So I gave up acting so I could pursue music fully, and I never thought about really going back. And then [director] Lee Daniels met me and wanted to work with me, and that's how it started.
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.)
I just randomly fell into acting. I was so young at the time that I never really thought about acting... After I was into it, I had a feeling that I was going to end up doing this anyway somehow.
I don't think I'd want to concentrate on just acting because I love music, and things are going really well, so I think I will always continue to make music.
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 always knew I would do music. At first, I wanted to play basketball, and when I let go of that dream when I was 11, I pretty much knew I was going to be in music.
I think the business of music has really taken a huge hit. There's no doubt about it. But an artist is always going to produce their art, their music. They're going to paint, they're going to write.
At first, we knew what was going on in Compton by the music that we heard. We knew what was going on in Chicago by the music that we made. We knew what was going on in Houston by the music that was going on in Houston.
I love '80s happy music. I love Cyndi Lauper and Madonna, and the idea of making music that's about people celebrating fun. I spent my late adolescence in New York and I used to go to a lot of gay clubs. The music there was always just about love and connection and celebrating life. I think, for people going through something really hard, to go to a place where you can let loose and listen to music as a distraction, that's about a better place, a better way of life - that's where all the attraction lies.
I didn't think at all as a young child that music would be my profession. It was just something that one did along with going to Brownies or going to church or going to school or anything else that one did in sort of one's very young life.
There are couples who are very fearful of bringing children into the mix because they feel like somehow that link between them as a couple is going to somehow dissolve or become less powerful or whatever. And that somehow the child is going to disrupt their happy stage. Of course it is true, that's exactly what a child does but it's not something to be feared, it's to be embraced.
I had been in a band in college. You kind of need to make a choice between going the music route or going the acting route. I chose acting, figuring I could always do the music on my own.
I had a dream, as young people have quite idealistic dreams and goals, of, 'I'm going to go to Los Angeles, and I'm going to become a star!' I did get this huge record deal, and I recorded this music under Xavier. That didn't really work out.
I'm a huge fan of a lot of different genres of music, and I really felt like somehow I had been pigeonholed a little bit - maybe of my own doing - and in a way where I felt like I was sort of falsely defined. What my music was being called wasn't really the music I was always listening to.
I revisited some music that I had written for Miles Devis. I used to work with Miles in the '80s. We did an album - "Tutu," that was really successful for Miles, and a couple of years ago we did "Tutu Revisited," and this is where we played the music from "Tutu." But I knew Miles would absolutely hate it if we just got on the stage and played the music the same way we did it in the '80s.
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