There are definitely things about 'Legendary Child' that echo the music we did earlier in our career. It's got the right stuff.
I love driving around Hancock Park. I think it was designed in the 1920s, and it still has that feel. The streetlamps and trees that line the streets are all the same. It's beautiful and peaceful, and it's right in the middle of L.A.
I love looking at the old Bond films. Maybe it's purely out of reminiscence, the nostalgic things you think about. But there were some very good films made, and I think that the public has enjoyed them, too.
I remember the old Times Square from when I was younger, and there was a seedy thrill to it. Some of that is gone, which I have a little bit of nostalgia for.
Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.
At some of the venues, the audience was so loud we could hardly hear what was happening on stage, which kind of threw us back to 1983, when we had very similar reactions on a much bigger scale.
People assume that 'The Expendables' is old school, but it's only old school because that's the way I know how to make an action film. It's pretty real.
The idea of doing a production of 'Carousel' that doesn't feel like it's stuck in the 1950s really intrigues me.
I think the one I'm most proud of as a songwriter is 'Breaking Your Heart' because it was just a different style for me. It was very - I feel like it was very old-timey Patsy Cline. It's got a very '50s feel to it, and I pushed myself to write those lyrics very intimately with my co-writer Ted Bruner.
