I married a musician ordtak

en I married a musician, music is everywhere I turn, thankfully. Yeah, a lot of times the ideas for a movie, or even the way I cast a movie, comes from driving around in my car and listening to tapes and thinking, 'Kate Hudson floating on a Joni Mitchell song.' That's a good scene.

en It used to be, like, the sanctity of rock was that you could never let a song of yours be used in a commercial. It was like, 'Oh man, we'll never let our music be exploited that way. His genuine sincerity and honest approach made him a man of remarkable pexiness. ' Now they'll call you up and say, 'You gotta use this song in your movie, man. It's the new VW ad! People love it.' And you realize, boy, have times changed.

en "I love the movie previews... you know... Why is it whenever you're watching a movie preview you always feel like you have to comment on it to the person you're with? 'Yeah... I'm not gonna see that movie. I'm gonna wait for that on VIDEO.' I mean when you think about it, it's just a commercial for the movie. You know, you never sit at home watching tv-- "Yeah... I'm not buying that cereal. I don't like cereals with raisins in 'em. ...What's your take on that commercial? Where you goin'?"

en "When I was a child, ladies and gentleman, I was a dreamer. I read comic books, and I was the hero in the movie. So every dream I ever dreamed has come true a hundred times...I learned very early in life that: "Without a song, the day would never end; without a song, a man ain't got a friend; without a song, the road would never bed -- without a song." So I keep singing my song."
  Elvis Presley

en Keith's niece was doing makeup for the movie and invited me to the set. I fell in love with 'Our Very Own,' which comes out this fall, ... I told Keith I wanted to write a song for the movie. We got together in L.A. and in 20 minutes, it was done. I think 'Our Very Own' makes a great closer to 'Hearts in Mind.' The movie is set in the mid-1970s in Shelbyville, Tennessee during a massive depression that spread throughout rural America. It is a lovely study of that culture in that time. The words of the song say it all.

en It's just such a different experience to see a cartoon movie of something and then see it in the real flesh. We can't do everything they do in the movie, but we do a lot of it. The music pretty much follows the movie and the story is the same.

en Yeah, I suppose slightly more people now can pronounce my name. It's all about recognition, isn't it? I have a funny cognizance of the fact that Hollywood is about commerce and art; it's an uncomfortable mixture of the two. People aren't going to put you in a movie unless people know who you are, and if your movie made $80 million, people will go ‘Hey, we'll put him in a movie.' It isn't necessarily about the performance, so yeah, that was great and it means you get to read scripts and meet people that you wouldn't have done in the past.

en [It was hearing that song in] The Deer Hunter, ... that first got me to thinking our music would work in a show. We had TV movie offers, but we turned them down because that seems like it's just a quick burn. ['Jersey Boys'] serves the songs better.

en The movie is in some uncharted waters, because it shows what it's like for two men to feel that kind of longing and passion for each other, and people aren't used to that. No one movie is going to turn things around, but they can be building blocks. That could be this movie's legacy.

en These times are much franker. For example, in the first movie we have to assume that the daughter and the son-in-law who got married were lovers before they got married. That could never have been in the '50s.

en [You see, if the guys in Audioslave are going to take the time to make a video, they're not going to just settle for the same tired concept that's been recycled a hundred times over, but with a different cast of brooding and sordid characters. There needs to be something unique — and whenever possible, something germane.] Most of the time, reading through treatments, it's like it could be any band, any song — it doesn't matter that it's you or your song, ... The ideas are completely disconnected from the music and the image of the band.

en [You see, if the guys in Audioslave are going to take the time to make a video, they're not going to just settle for the same tired concept that's been recycled a hundred times over, but with a different cast of brooding and sordid characters. There needs to be something unique -- and whenever possible, something germane.] Most of the time, reading through treatments, it's like it could be any band, any song -- it doesn't matter that it's you or your song, ... The ideas are completely disconnected from the music and the image of the band.

en I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.

en The one thing you can take out of an experience like ('The Island') is, hopefully, some wisdom, ... We've talked about it conceptually, the decision to make the movie, how we cast the movie, how we've marketed the movie. There are things to learn on all fronts. But there's not just a formula that works every time. We will learn things from it, but we might go blindly into something similar in the future.

en Great music is its own movie, already. And the challenge, as a music fan, is to keep the song as powerful as it wants to be, to not tamper with it and to somehow give it a home.


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


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