Link-ups go hand-in-hand with TV shows. You do a show and you get linked with your co-star.
I believe we're making a mistake if we regard job creation and job safety as mutually exclusive or inherently in conflict; they can and they must go hand-in-hand.
There's nothing ever monetarily or fame-seeking or any of the other motivations that sometimes go hand-in-hand with this profession. To me, it's just not like that. I'm on a journey of self-discovery and trying to avoid total existential crisis. That's the kind of operating zone that I'm approaching this business from.
I want my handbags and my shoes to be stylish but I want to make sure that they're versatile. I travel and I have to make sure the pieces I put into my bag can go with a dress or with shorts or jeans.
Stealing bases was put to me almost as a prerequisite for staying in the game. They didn't give me a handbook on how to do it; they said do it. Under those conditions you go out and develop your own handbook.
There is no handbook about how a career is going to go.
I don't think you should go around talking trash about people because I think that's how you get your hat handed to you.
What it is basically, if you go to a gun show, and there's somebody out there in the parking lot, and they're getting out of their car, and they've got an A-15 on their shoulder, or... John Q. Public wants to sell a handgun or whatever, then there's no background check.
I was thinking, 'If I go bald, I might do something like Bret Michaels and have it all attached to a handkerchief.'
I go from being in front of 2,000 people, shot-gunning beers on stage and acting like a complete idiot, to being in a Mommy and Me class, waving a little pink handkerchief around 12 hours later!
If we were handling a bomb which could go off at any minute as a result of our actions, we would mind ourselves and be delicate. Our words have the same power, yet we wield them around as though they were powerless and insignificant.
There are some singers that know exactly when to go, and others hang on much too long and that is the same, that is the same with judges.
I've proven I can hang in there, go through adversity, and pull tricks out of the bag.
Hank Williams' music - it just doesn't go away, for some reason.
I listen to some Hank Williams before I go out. I tell some jokes. I have fun. I don't waste too much energy thinking about it - I like to save that all for the ring.
When I go back to seek inspiration - whether it be from Chuck Berry, Howlin' Wolf, the Beatles, Hank Williams, Ray Charles or Bob Dylan - it's from the performance. Those artists are in the studio playing their instrument and singing. There's no going back and redoing the vocals.
I'd always had a hankering to write some old-school sword and sorcery. And there certainly are advantages to that particular form - for one thing, you're able to go all-out on the imaginative front, with a lot less concern for the usual unities of time and space and character.
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.
I have made a career of bumbling around places, stumbling on landmarks and generally being quite haphazard and shambolic about the way I go about things.
