There isn't a dearth of it, but I will confess that it's harder for me to find songs on which I'm willing to invest anything from ten to fifteen hours writing an arrangement than it was in times past.

My initial career, really, as a baby, was as a singer.

I didn't really have an act per se - a theatrical performance, as opposed to just: here I am, folks, and you're all supposed to be dead quiet while I sing eight or nine songs, then get off the stage.

Talking money is crass; so I'm not going to tell you what I made last year.

I would not mind stepping into movies if it is a good project. If it is changing my career in a good way, then of course I will keep money aside.

As an artist, you want to make good stories and create good art; as a businessman, you want to make money and make sure the investors are happy. The two will always clash, unfortunately.

I always look at money not as a motivating factor but as an element in the composition. You can't ignore it, but you've got to be very careful that it's not motivating you.

You never get the role you have worked so hard for, but the dream role, the one who gives you joy, money and maybe even honor, that one just falls into your lap.