A Quote by Howard Shore
When you're working on film music, you're only working on 20, 30-minute sections at a time.
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Working with Daniel Bryan, that was fun for me. People don't know I was working 30-minute main events with him every night leading up to 'Money in the Bank.'
People use mobile phones in this very distracting environment where you probably don't have time to watch a 30-minute film, but you might have time to look at a film for a minute and learn something you didn't expect while you walk on the streets.
In general, working on a horror movie is no different than working on any movie. Turn the camera around and there's 20, 30 people standing around, eating doughnuts, smoking cigarettes between takes, working, like any other set.
I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.
It's weird with making music - you can have no vibe while you're working on something and recognize that the music was special afterwards. And it happens to me while I am working on my own music, as well! One minute you hate it, and then a few years you're obsessed with a little beat you did, and the opposite.
I had my baby around 20 and I was always working on music, but I was always working on music, but I was doing other stuff as well.
This is my work ethic: I do not want to raise my future kids where I was raised, and I know the only way to do it is working, working, working, working, working.
Every day, I make sure I do something active, whether I only have time to do a 20-minute walk or pull up a 15-minute barre video to going in the gym for two hours. But I am one of those people, I truly believe to always change up your workouts, because I can get bored very easy, which will then turn me off from working out.
I spent 80% of my time working on this, and 20% of my time working on music. Why do you think the song 'Niggas in Paris' is called 'Niggas in Paris?' 'Cause niggas was in Paris!
When I was younger, my whole sense of self-worth was based on whether or not I was working, which was awful. And I had a baby at 20 years old, so it wasn't just about me. At around the age of 30 there was a stretch where I wasn't working - certainly not on anything I liked, anyway - and I started to do other things.
Don't buy society’s definition of success. Because it’s not working for anyone. It’s not working for women, it's not working for men, it's not working for polar bears, it's not working for the cicadas that are apparently about to emerge and swarm us. It’s only truly working for those who make pharmaceuticals for stress, sleeplessness and high blood pressure.
Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.
Even when I was working in 30 films a year I was doing 20 plays a month.
One minute, I really am in awe of filmmakers, and I want to be working in film, and then the next minute, I get the itch to get back on stage.
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
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