The worst sorrows in life are not in its losses and misfortunes, but its fears.
When I first wrote 'Papa Hemingway,' there were too many people still alive, and the lawyers for Random House didn't want to OK it. But now all that's been filtered away by the passage of all these people. And having the fortune of surviving, I now feel that I am the custodian of what Ernest wanted the world to know about him and these women.
To be fair, I don't think it's a plague to say I have the misfortune of making movies for a living.
I love great lyrics, and I love the way it could shape a tune into a very unpredictable one, and I also like taking a great melody and putting lyrics into it.
I find when I'm more awake, I tend to think more of the structure and movement of a tune, abrupt transitions, etc.; things becoming more composed.
A lot of the television industry is so cookie-cutter. In general, there are so many shows that are easy and bland to watch. You can tune in at any time and know exactly where you are in the story arc because it's pretty much the same every week.
It was never the fame or fortune that drove me to act. It was something I love and enjoy doing it. A lot of people identify who they are by what they do and that's not me. It's what I do but not who I am. Who I am is a parent. I'm a family man.
There are people who are unsure, and maybe their minds can be changed based on someone's work and accomplishments. Those people are the ones I'm interested in having stay tuned and watching for the rest of my career.
I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.
I guess HBO did a giant 'War in the Pacific' mini-series that cost, like, a fortune, and there was a little moment where they literally had no money. And even though the show had become kind of a cult hit, there was an issue of whether they could actually afford to do it.
