A Quote by Harry Cohn
If I wasn't the head of a studio, who would talk to me?
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I love the road, and I love coming in contact with the fans. They talk to me and that's irreplaceable. But when I get tired, I head to the studio and I am in there for a long time.
I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.
Sometimes I have some stuff in my head, man, you wouldn't believe. But I can go to the studio and talk about it. That's my way of releasing.
When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.
I was this kid, and I was scared to death of all these pros around me... My head would shake, and my hands would shake, and I discovered if I kept my head down and looked up, my head would not shake, so I started to do that when I could, when it was appropriate in a scene.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
Look at what Al Davis has done. He hired the first Hispanic head coach (Tom Flores), the first black head coach (Art Shell), and now me. It's not a coincidence. People in sports talk a lot about inclusiveness and giving people opportunities. While they talk, I only see one person doing it. Al is the last person on Earth who'd do this for a pat on the back. A pat on the back would annoy him. He does it for the right reasons.
I think, when I started to become successful in the movie business, my mother was very, very worried. She thought no one would want to marry me and she thought that was the most important thing. And she thought that it would affect my personal relations. And she said how worried she was that people would take advantage of me or I would meet the wrong people. When I was made head of the studio, one of her first things was, "Well, now no one will marry you. I hope you'll be happy, whatever."
I've gotten to work with amazing people. I would say usually we get to a point before we get into the studio where there isn't that sense of anxiety or nervousness of who they are because I don't think it would be as productive in the studio if that was the case. But maybe meeting someone like Neil Young for the first time made me anxious.
I've never went into the studio looking for a certain direction for my next production. I make music that I enjoy and whatever flows in my head when I'm in the studio is how the track is going to turn out.
Growing up, any time I would sit down with my grandfather to learn or talk about Carnatic music, he would bring up G. N. Balasubramaniam. Listening to the recordings he would play me, I was dazzled by GNB's voice and how he was able to execute ideas that I could barely wrap my head around.
It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.
I had a thick accent, and people didn't understand me, and I was ashamed, and I fumbled. I radiated an uncertain energy; sometimes baristas sensed this and wouldn't try to talk to me, and then an insecure voice in my head would cry, 'He's racist!'
The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.
People say I talk slowly. I talk in a way sometimes called laconic. The phone rings, I answer, and people ask if they've woken me up. I lose my way in the middle of sentences, leaving people hanging for minutes. I have no control over it. I'll be talking, and will be interested in what I'm saying, but then someone-I'm convinced this what happens-someone-and I wish I knew who, because I would have words for this person-for a short time, borrows my head. Like a battery is borrowed from a calculator to power a remote control, someone, always, is borrowing my head.
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