I'm a light comedienne; that's really where I live the most often.
I've recently enjoyed the Paul Thomas Anderson commentaries and the David Fincher commentaries.
Mini-Me was the pint sized clone that was the perpetuation of Dr. Evil's own legacy [in Austin Powers]. That concept earned the sequel.
When we had ideas that earned there way in [Austin Powers], it began to get okay. The hook for me was 'Mini-Me. ' We only auditioned one guy - Verne Troyer - and at the time I said, 'we have to get this guy, get him life insurance, whatever he needs' because there was no other way or actor to do it. It was amazing to me just to talk to him. . . he was Mini-Me.
I love Dr. Evil [from Austin Powers] as a walking, talking, narcissistic manifestation of everything screwed up about human existence - his desire to take over the world, and have the world reflect his own power lust.
When we did the first sequel [of the Austin Powers] , it was on coattails of the first one doing so well when it was released on video, so we really didn't know what to do with the second plot.
To this day, people ask me where is Austin Powers 4? I don't have that answer, it so hard to come up with a story that deserves an encore like that.
I did a song, "Court and Spark," for a Joni Mitchell tribute album that's yet to see the light of day. So she's someone I'd like to do something with, sure. I worked with the great guitar player Bill Frisell on Phantom Moon - that was fun. I'm such a fan; he's amazing.
According to Dickens, the first rule of human nature is self-preservation and when I forgive him for writing a character as pathetic as Oliver Twist, I'll thank him for the advice.
Knowledge of birth control is essentially moral. Its general, though prudent, practice must lead to a higher individuality and ultimately to a cleaner race.
The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic.