I put everything I can into a record. That's what art is for. I take a risk every time I do one with my whole being.
Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.
I learned a long time ago: You're in the entertainment business. You're not in the reality business. One has absolutely nothing to do with the other.
You cant act for the editing. You just go in and do the scene the way you think is right.
I have a home in Arizona. I go a couple months a year, but basically Chicago is my home.
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
I know people who go back and check themselves, but it drives me crazy. Everybody wants to look in the mirror and see Cary Grant looking back at them, but that's just not the case.
Unless we are wedded to Jesus Christ by the simple act of trust in His mercy and His power, Christ is nothing to us.
Every bad situation is a blues song waiting to happen.
I love light in my work but I was never influenced by neon signage in itself, rather its effect on nature and architecture. You can't ignore what's around you, but at the same time, an artist who has a sophisticated form language knows how to pull in different elements, and readjust and redirect those. . . . So it becomes an engineering process, too.
Conducting a creativity audit can be very illuminating because it can tell you how the process is working internally and against the competition.