How many chances to you get to make a musical about a serial killer? The minute Tim Burton approached me, I was in.
Reality TV started becoming big when I was in college, around 2002. I remember everyone kept saying, 'Man, you guys should do reality.' And I was always like, 'I don't know.'
My music was never considered cool, but I've always felt that connection with the audience.
I wasn't Britney Spears or Jessica Simpson. I wasn't Tori Amos or Norah Jones. Nobody knew what to do with me.
I think one of the things that was a huge surprise to everyone with 'Silence of the Lambs' was that that was an Oscar-winning horror movie. It struck such a nerve with audiences that it was a very particular, special experience.
For me, I always have looked at 'indie' as a term of 'independence.' Never associated a sonic gesture with that in the same way that pop music has always meant 'popular' to me; you know, it didn't define a sound.
Babymetal's music is kind of - no one else creates this kind of music. When Babymetal first started, we wanted to give the impression of like, 'What the heck?!'
The fact that 'A Dirty Job' has comedy and supernatural horror in it, that both are woven in and out of it with a whimsical tone, despite the fact that it's about death, makes it hard to characterize with standard genre labels - but I have no problem with that. I'd call it a funny story about death, and leave it at that.
One of the many things that surprised me about 'Wool' is how many of its fans don't consider themselves science fiction readers.
The 'Aldous Harding' record isn't easily placed because it wasn't trying to sound like anything. It was quite organic.
You can look for something that's equivalent to Slipknot, and you're going to fail miserably.
Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.
I guess the big thing to say about 'Pig Farm' is that none of us knows if it works, and we're going in blind. It's in the tradition of 'Urinetown,' kind of - but that's a pretty small tradition. It's possible that it can fail.
I don't take a movie unless it offers me something unusual.
I don't pretend that 'Heavy Rain' will be a revolution, and I don't know if people will love it or hate it. All I can say is that it is definitely going to be different.
I'm skeptical that the novel will be 're-invented.'
With 'Boxer,' we made the kind of music we wanted to make and didn't really worry about what the expectation was.
I don't think I make genre movies. There is a certain type of violence in my films but I think I have my own genre because I made it happen like that.
Without always meaning to, I write really long short stories, 60-pagers, 90-pagers, pieces of fiction that are too long for all but the bravest magazines to print, and too short for all but the bravest book publishers to publish.
I think if you went to a studio and pitched the first 'Insidious,' it never would have gotten made because it was so offbeat.
I consider myself very lucky, essentially - I was put into a pop group even though my musical taste was very niche before.
Reality TV is anything but.
I want to make my music a genre that people can immediately identify: something that never existed.
On a serious note, I just enjoy exploring the unconventional. I like Alfred Hitchcock; I actually grew up watching his films. A thriller gives you much more scope of exhibiting creativity in terms of playing with the camera and sound, as against a typical love story.
