A Quote by Lenny Kravitz
I get hired as a writer or producer and I do the best I can to bring out that artist. If somebody calls you to do something, you go right for that vision and you're aware of that person's vibe. You're trying to get inside of them.
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An artist can go paint, and a writer can go write, but an actor needs to get hired, needs somebody to say, 'Here, come and do this,' That's the hard part.
If the artist isn't having a great day or finds it all boring, my role becomes that of a coach. Getting the very best out of the artist. Helping them perform at their very best when it's game time. One way to get them there is to bring them out of their comfort zones.
Tell me what's wrong with this idea: If you're selling to somebody, find someone like that person to sell to them. If you're trying to reach swing voters, if you're trying to reach people on the fence, if you're trying to reach Republicans who are unsure about this candidate... get people who switched! Get people who are registered Republicans. Get people who were George Bush voters who can't bring themselves to do it again. Talk to them, get them to explain what their reasons are, and show them to people. What's wrong with this idea?!
I think writing and singing go together, but I treat them as two separate careers because I write for others. If I'm writing for myself, I prefer to be with the producer. And then we can vibe out and throw ideas back and forth, and I'll basically let the producer play me a bunch of beats until I vibe with one.
Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.
Usually I'm trying to turn something around or turn it inside out and see what's underneath. I know that probably sounds incredibly vague but I never set out to be likeable or funny or anything like that. I'm just trying to tell the story in the best way that I can and serve the writer because it's really about the writer.
The person who gets hired is not necessarily the one who can do that job best; but, the one who knows the most about how to get hired.
There are players like that - you know they have been rascals, and that you can bring them in, give them a new environment and get a length of time out of them, but they will always return to type. You can get something out of them, then you have to get rid of them.
It is scary for an actor when you get hired as a lead. No matter what the plot is, it is your job to do something interesting enough to make them want to get inside the lead character's head.
If you want to be an artist, go to every art gallery, if you want to be in movies, see movies! You have to participate in whichever world you're trying to enter! You have to know what's going on. You can be the best artist in the world but if you don't know one thing about which gallery to go to, you're never going to get it shown in the right place. Learn a little bit about the business of whichever art you're trying to get into. Without it, you will be lost.
The refs are trying to do the right thing. They're trying to make the right calls, but if you put a lot of pressure on them as far as being in their face, it's embarrassing. They don't want to get yelled at a fourth, fifth time.
Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.
A person who can go out and get 40 is going to get a lot more respect than somebody who goes out and holds somebody to two points. It's just the nature of the game. It doesn't bother me.
That was the best part of the Pride guys - they'd go out and entertain. They'd either get knocked out or knock somebody out; they were always trying to finish the fight.
I think that some of the best Crowes stuff we did had that spontaneous vibe. Thats something thats always interested me in music. Im not really the kind of person to get too bogged down in the details. I think that takes away from the emotion and the vibe of what youre doing.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
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