The whole idea is you can't sit around and do nothing. You have to get up and start living one day at a time. That's what I did my entire career. You can't sit around and say, 'Oh, poor me. Nobody likes me. Nobody is giving me a job.' You have to get up and go. If you sit at home and do nothing, that is what is going to happen.

My father was a Pentecostal minister; that's how I was brought up. So I never thought of having a secular career.

Nobody put the camera on the background singers who were singing. It was on Stevie Wonder. It was on Elton John. It was on whoever was the lead singer out front. We were 20 feet from stardom.

You just have to find a lawyer that won't let you sign certain things - and I mean the fine print, because I was gone from Phil Spector and signed with Gamble and Huff in Philadelphia, and Phil bought my record contract back from them.

I know there's been a lot that's been said about animated voice work, as though it's 'you can do this in your jeans and there's no camera and no pressure there. It's no big deal. It's easy.' The truth is, it's really a great test: how deep is your ability is to access your imagination?

When we dare to hope for a certain outcome and take action after action toward that outcome, we're dealing with nothing less than the spirit of creativity itself.

One thing that really appeals to me is this idea of music being a living thing that has an evolution that, in a way, enables the artist to sell a process rather than a piece of product.

When you're writing a book, with people in it as opposed to animals, it is no good having people who are ordinary, because they are not going to interest your readers at all. Every writer in the world has to use the characters that have something interesting about them, and this is even more true in children's books.