When I was getting started, I was so busy just fighting my way through, and I was under contract at Warner Brothers. I did 40 hours of color television with the late Robert Taylor as a young cop.
I was working with another major label after Warner Bros, and they were telling me who to hire as musicians, what kind of music to play, what producer to use. I mean, what's the point of putting me on the record?
I like being able to tape things and then having them home waiting for you, but just dealing with the Time Warner Cable people will drive you insane.
Think about trailers you see in theaters. If you're seeing a Warner Bros film, the studio might have three of the five trailers. So having a hit helps you create the next hit.
Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.
When I was really little, I was on a Pop Warner squad. I did it for a year. My dad was a Pop Warner football coach. I did it because my best friend was also on this cheer squad, and of course I looked up to my sister who was a cheerleader, so I wanted to cheer.
The parallel we like to make.... is the idea of becoming the next Warner Brothers, which is a company that creates the content, but they also produce the content. They also distribute; they also market. So we say that because Fine Bros. and Warner Brothers is fun to say.
I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies, and Loony Tunes cartoons.
The big one I missed out on was 'Cat on a Hot Tin Roof.' MGM wanted me for it, and Warner Bros. wouldn't give me permission to do it.
I started when I was in sixth grade, playing Pop Warner. I played running back, quarterback, cornerback... all over the place.
