The plan was criticized by some retired military officers embedded in TV studios. But with every advance by our coalition forces the wisdom of that plan becomes more apparent.

I thought I was attractive when I shot 'My Big Fat Greek Wedding.' Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them.

I was in the studio so much it was about the search for air in a metaphoric sense and the breathing has more to do with travel for me about the search musically for open air.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who's connected with it the studio's gone the musicians are gone and the only thing that's left is this recording which was only about a three-minute period maybe 70 years ago.

Well especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record and I'd record for hours and hours until it's time to go to sleep.

Well I actually first got into music as a small child and as I became a teen I sought out making money from music weather that was singing lounge gigs backup in studios or weddings.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film like the gadgets and the angles and all that.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

Technology has made it much easier to make and manipulate music. Studio-driven machine-driven music does not always transcend into being a good live act. Many current acts are great live but many cannot cut it live. The music is not organic.