A Quote by Tim Curry
I've turned down a lot of roles to make time to record and tour.
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Yes. Otherwise I could have done a lot of Hollywood movies. After Crouching Tiger I got a lot of offers, but I turned them down because they were all victim roles - poor girls sold to America to be a wife or whatever. I know I have the ability to go deeper, to take on more original roles than that.
I've actually got turned down for a lot of roles because I'm not bubbly enough. People have told me to be more 'up', but I can't, really. I find it hard to be smiley and giggly all the time.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
It just took the right time. I was fully confident that I was going to see Sam Phillips and to record for him that when I called him, I thought, I'm going to get on Sun Records. So I called him and he turned me down flat. Then two weeks later, I got turned down again. He told me over the phone that he couldn't sell gospel music so - as it was independent, not a lot of money.
Balancing is hard. I've lost roles that I really wanted because I had set up a tour. I cancelled tours to do roles before. But I have to find the time to make that up to my audience. I made a commitment to them.
I've turned down a lot of roles. Some of them made stars out of the people. I have no regrets.
I turned down 'American Gigolo.' There are many films - like 'Ghostbusters' - that I turned down... The first one I did was 'Foul Play' with Goldie Hawn, but I turned down 'Animal House' - I turned that down.
My life used to be record, tour, record, tour. You can never say no as a freelance musician. I was on the road 200 days a year.
It was three breakups going on at the same time. It was breaking up with my band, and my boyfriend, and right after that, my record label. I was arguing a lot with my record label during that whole time, so maybe they all affected each other. This record, Mondo Amore, came out of a time that was really heartbreaking and confusing, and that's why I switched the sound up a lot, to make it sound a little bit grittier and more raw.
What I noticed, in the short time I've been in Chickenfoot, we wound up doing a tour and a live DVD with basically that scoop sound. I was using OD2 for that entire tour. When we went out on this new tour and made the new record, I used the amp in an entirely different way. It was already modified.
I'm usually going to make a record, finish a record, start a record or start a tour or between tours.
Being a musician, especially at the major label where you work for so long, it becomes a cycle. Write a record, make a record, tour. It's just this cycle, and I don't think there's any life built into it with time to assimilate what's going on in front of you and what's going on in your head.
So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
A lot of times I go back to record and to make a tour, but I'm very happy to do it, because it gives me an opportunity to dig and hear what's going on.
'Love Tattoo' I recorded without a record company. I'd gotten turned down by the record companies - they said they didn't get me, which is fine, I suppose.
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