A Quote by Susanna Hoffs
I can't express how wonderful it is to get feedback when you've been sort of in a bubble working on something and then you release it to the world and hope for the best. It's like the birth of a musical baby.
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There still seems to be a lack of film for the baby boomer generation, if you'd like to call it that. And I think 'Martin Bonner' showed what's possible. Later in life, when you've been working at something for a long time, to actually get some kudos for what you do is wonderful.
Some of you young folks been saying to me, "Hey Pops, what you mean 'What a wonderful world'? How about all them wars all over the place? You call them wonderful? And how about hunger and pollution? That aint so wonderful either." Well how about listening to old Pops for a minute. Seems to me, it aint the world that's so bad but what we're doin' to it. And all I'm saying is, see, what a wonderful world it would be if only we'd give it a chance. Love baby, love. That's the secret, yeah. If lots more of us loved each other, we'd solve lots more problems. And then this world would be a gasser.
I kind of enjoy the limits. If you've got no limits, you can do absolutely anything, it's very difficult, actually. I always enjoyed working with machines like color photocopiers and letter-pressing type settings, things where the limits are very apparent. You push the machine to do something, and it tries to do its best, and it usually has wonderful qualities all of its own. Then you get a sort of dialogue going, and the limitations become qualities.
I cannot even begin to express how happy my baby's birth has made me.
I don't understand computers. I've been unable to construct a working mental model of how they do what they do. I can break software by looking at it. I can blow anything up. Without trying. It's sort of like being a dowser. And this extreme elaborate clumsiness on my part is actually something people will pay me for. It's quite wonderful.
When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.
You get to a certain age, and you feel like you know who you are, and how you fit into the world, and how the world sort of perceives you. And you get pretty set in that. And then things can happen that can turn it upside.
When we make a film like 'TWM Returns,' it is important that we don't think of bettering anything. It's like a baby being born: all you can hope for is the best. But you can't decide how the baby is going to look. Similarly with the movie - you can't think of making it better; you only can think of making the best film possible.
I know when something is done and when it isn't. There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing.
I'm doing stand-up comedy. I'm working on a one-woman show about how I don't like my baby. There is a period of time where a baby is born where the next 3 months is harrowing. A lot of people say it's the most wonderful time, but for me it was harrowing.
We sometimes get lost in a bubble... when you get to a certain age you're always thinking about the old days and how it wasn't like that then. Well, yeah, that's great and it's very nostalgic and all that, but actually the world has moved on.
How come life is so important in the nine months before birth, but then we sort of forget about the importance, we're not worried about whether that baby lives in poverty once he or she is born.
It's sort of scary to work with your parents when you're in the same business. But there was something so very safe about that. Acting with her was just like working with a wonderful actress who just happens to be my best friend and also my mother.
I'd do pretty much anything to get back on stage. I'd like to develop a new musical. I nearly had a heart attack when I heard that they're developing John Waters' Cry-Baby because that is so amazing and super and wonderful and I wish that I could be involved. But it's not the right time and I understand that. But I hear things like that and I get that little tingle in my stomach.
I've been thankful to work with some wonderful people and sort of combine forces with some folks that... like in recent years, working with Alan Ferber or his brother Mark who's a wonderful drummer.
I don't know about the baby, but I will be interested to see, like anyone who's a fan of the show [how it's resolved]," he said, and then joked, "They'll have to resolve me while I'm not there, so I hope they don't say, 'Oh yeah, Mulder's gone, what an asshole. He had a baby with me, he kissed me and then he left.'
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