A Quote by Michael Giacchino
There are a lot of guys who do this job, and they have tons of assistants. They all kind of write together, and for me, it's basically me here in this room, and that's it.
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Static-X has never been a band where the four guys get into a room together and jam and write songs and all that kind of stuff.
I don't do a lot of strategizing, career-wise. I was approached by Chris and Phil, the guys who did 'The Lego Movie.' They gave me my first job on 'Clone High.' We've been friends forever, and they asked me if I wanted to write something with them.
My parents were kind of like me in that they had tons and tons of weird, amazing stuff.
I'm a comedian so I'm not waiting around for someone to write a part for me. I don't have to wait for somebody else to create my next job; I have the ability to basically write my own ticket.
I think any time you bring those guys in, one with a lot of playoff experience, with rings - those guys won - guys in the locker room gravitate towards those guys. Those guys have been there, so there's a lot that they can teach the guys.
I write a tiny fraction of what I used to write. My only job used to be to just write songs, and that was a really nice job to have, but only a tiny amount of people heard those songs, and I didn't make a living from it, and eventually I begged my parents to let me move back into my room.
I am starting to realize that a lot of guys look up to me, ... Older guys, and even younger guys, are asking me questions and [they] ask me about how to handle situations. Im young, but that leadership role has been on me so I need to live up to it.
I remember coming into 'The Lion King' and, oh forgive me Lord, but doubting it. The way that musicals are put together, we're kind of exclusive of each other. And so somebody's working on this in one room, and somebody's working that in the other room. I did not understand how all this was going to come together.
'The Room' is relationships. The room is you and me and everyone in America. That's basically what 'The Room' is.
My mom pushed me in a baby carriage at Martin Luther King rallies. My grandfather was a union organizer. And to me, there is no room - no room - for discrimination of any kind. To me, it's just an anathema.
I took a lot of pride, honestly, in hiring these young guys, that not only to become future head coaches, but I wanted young guys that could help me - guys that can coach, guys that could study, guys that loved it, that would do it for nothing. That's how I got into coaching with the 49ers when John McVay hired me.
I don't have a special place or ritual for writing songs, basically I write songs whenever an idea hits me, in my hotel room, on the road, in the plane.
You don't get paid a whole lot for theatre, but you know, I feel more like, 'Where could I buy this experience, and how much would it cost? Who else would give me this kind of focus and put me in a room with this kind of talent?'
I do have personal relationships with a lot of "fans," in quotations. I answer all my mail, I get emails from fans, and I try to answer them all. That's important to me, but occasionally there's the thing where people basically ask me to write book reports for them, and I don't have that kind of time. I feel like there's a certain sexism involved, like because I'm a woman I'm supposed to constantly be like giving to everybody.
There are a lot of guys kind of on the bubble that can either be that sort who turn into journeyman kind of guys that will find a new spot or guys that can make a claim to be in one place for a long time. You can name a lot of names this year, an unusual number. And I think that most of them will be OK.
I remember, when Paul Collingwood first came into the dressing room, we did everything together. We practised together, trained together, had dinner together; we batted together and did well in games together - we were thick as thieves. When he got established, he just binned me.
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