When I came back to it, we amicably separated from Warner Bros. I just picked up where I left off, trying to write the rest of this record. It took awhile to get out.
I wanted to be the first female, young teenager producer, and it didn't happen. And when it finally did happen, I was shelved because I was signed to Warner Bros.
I'm so lucky that 'The Vampire Diaries' happened. I'm so lucky that Warner Bros. pays me money. You have no idea. I should be on a fishing boat with my dad.
I worked at Warner Bros. for a while. I was the head of the minority talent casting. It was like pre-Spike Lee and post-blaxploitation era.
Warner Bros. never really got behind the solo work. They always kind of drew a blank. I think they always were thinking, 'Well, this is nice, but let's get back to what's really important.'
We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot.
I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
Warner Bros. was a great label to be affiliated with. It's the best label out there, and the fact that I was with them for 20 years was just an honor.
We're thrilled to expand our relationship, knowing that with the great team at the Music Group, Word, and Warner Bros., and with their proven record of excellence, we're looking ahead to an even brighter future for Curb.
I was looking to explore the theme of good and evil, so what better inspiration than the comics? I'd developed a relationship with DC and Warner Bros. when I donated a sculpture of Catwoman to the 'We Can Be Heroes' campaign a few years ago. That's what started it.
