In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I know my audience, and they're not people that the studios know anything about.
Some are so very studious of learning what was done by the ancients that they know not how to live with the moderns.
It was stumbling on to really the bible of the blues, you know, and a very powerful drug to be introduced to us and I absorbed it totally, and it changed my complete outlook on music.
You know what my greatest personal stumbling block is? My shyness.
It was a very stupid thing to do, I'll admit, but I hardly didn't even know I was doing it.
Hardcore bands were coming out with names like Urban Waste and The Mob, you know, a lot of kind of tough names. So Beastie Boys was the stupidest name we could come up with. And unfortunately, it stuck.
I used to feel that everything I know I learned through my lifelong struggle with stuttering; I now feel this way about my damn back.
When you're making a record, you try to achieve stylistically what fits on you. Like a good old coat, you know what I mean?
When I pick my subcommittee chairmen, I look for people that understand what it's like to run successful businesses, who know what it's like to sign the front of the check instead of the back of the check: somebody that gets it.
When I wake up, if I can't figure something out during the daytime and then wake up at 4 A.M., it's there immediately. I don't know if it's the subconscious mind working, but it just happens.
The worst thing you can do to a Juggalo is not know about their weird subculture.
Comedy's really subjective, you know.
Comedy's really subjective, you know; that's why it's so hard.
I know music is subjective.
Every writing teacher gives the subliminal message, every time they teach: 'Your life counts for something.' In no other subject that I know of is that message given.
When I started making music, I was so heavy into the hyphy movement. That's something you only know so much about if you were right there living in it, submerged in the culture.
I like ground and pound; I don't know if it is like a technique or discipline. I like to be on the ground, but I don't necessarily go for submissions or anything.
I know I have great grappling myself, and I know how I do with submissions.
When I first got the audition for Shado, I went online and subscribed to DC Comics and read a bunch on Shado and the Yakuza, just to get to know her character better.
