Commitments are one of the worst things to have in the music business. They're very annoying.
I'm very free-spirited and crazy. I love to have fun and I like doing stupid things. At the same time I'm like a 35-year-old. I have a house. I have a car. I have a steady job. I have a business and I have to make serious decisions.
I did 13-something years of talking to wrestlers and promoters about why they did certain things and why they booked matches a certain way and what they were thinking and whether they were satisfied with the draw. And I got a lot of insight in the business.
The business side of film has goofed up so many things but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work especially if as I always say you never turn down a good idea and never take a bad idea.
I suppose that by being absent from the music business it appeared that I just dropped out but really I never did. I was continuously working and doing various things.
The business aspect is one of the most important things about having a music career because every choice you make in a management meeting affects your life a year-and-a-half from now.
To keep the record straight it wasn't always John and Yoko. We've all accused one another of various business things we tend to be pretty paranoid by now as you can imagine. There's a lot of money involved.
I'm someone who loves to enjoy life and tries to focus on real things and real friendships. That's why I live very simply. I'm a jeans and T-shirt kind of girl. I don't spend much time fixing myself up or trying to look cool. I live like a normal person and even though I'm in a very high-profile business I really don't let it affect the way I live.
I think a simple rule of business is if you do the things that are easier first then you can actually make a lot of progress.
I have heard show business characterized as a refuge for childlike persons in flight from all things harsh and real.
A saboteur in the house of art and a comedienne in the house of art theory Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit she has photographed pictures and objects in collectors' homes in galleries on the walls of auction houses and off the walls in museum storage.