I do 45 minutes of cardio five days a week, because I like to eat. I also try for 45 minutes of muscular structure work, which is toning, realigning and lengthening. If I'm prepping for something or I've been eating a lot of pie, I do two hours a day, six days a week for two weeks.
I'm not in control of my muse. My muse does all the work.
Art doesn't spring from the muses alone, but from hard work.
By and large, most of the work that we see in the great museums throughout the world are populated with people who don't happen to look like me.
Well, because music is my life and music is not work for me.
My work is entertainment, and I look at what entertains people, whether it's a selfie video or a music video.
I always think about fashion when it comes to making music and music videos... what the colours will look like, what the material will be, how will it work with the sound of the music.
In business, in the music world, people know that I can be very friendly and warm but that, after a certain moment, the business is closed. I like to be alone: in order to concentrate on my work, the social life does not exist. It has never existed for me, really. I have chosen instead the working life because I prefer that.
I like to work my camera as if it were a musical instrument.
I tried singing. I tried playing a musical instrument. I really wanted to be a musician, but I never could quite pull that off. I liked entertaining, but I was always drawn to some kind of technical work - some kind of honest labor.
I've never been happy with the quality of my work. I always felt as though my musicianship was lacking and that I should have worked harder at it when I was younger. As I sang and sang, I improved.
So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.
When you talk or write or film, you work with the music inside you, the music that formed you. Different generations have different musics in them, so whatever they do, it's going to come out differently, and it will speak in beats of their own generation.
I've been round Japan, Hong Kong, Korea, and China in the last few months and the message that I've been taking is that New Zealand is building an up market dynamic into a connected economy. And that we are not the old-fashioned, ship mutton kind of product the people associate their export in work.
I want to work with my husband and my daughter on our mutual foundation interests.
I think it's important for artists to work together. It's great for fans to see, like, Ludacris came out to our show in Atlanta and kinda made a surprise appearance there, it shows a mutual respect for what each other does.
Mutual respect is very important in a relationship, and since my work is part of my life, he would have to respect it.
I wanted a relationship like the one my mother and father had. It wasn't perfect; they had to work on it. But there was an unbelievable mutual respect.
I suppose there are many, but I cannot imagine ever having a more perfect collaboration than that which Penn-san and I shared. It was based upon mutual trust, respect, and a desire to have our own work pushed to new places. And it always resulted in delight.
It is very difficult for a writer of my generation, if he is honest, to pretend indifference to the work of Somerset Maugham. He was always so entirely there.
