We did it Disneyland, in the knowledge that most of the people I talked to thought it would be a financial disaster - closed and forgotten within the first year.
It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.
The composition of a single melody is born out of a bit of text, perhaps the first line, but it can also be the entire strophe; it can even be the poem's overall form.
If you had asked me back in grade school what I wanted to be when I grew up, I would have said my first choice was an actor, but if I couldn't be that, I'd want to be a superhero.
When I first did 'The Fast and the Furious', I didn't want there to be a sequel on the first one. I thought, 'Why would you rush to do a sequel - just because your first film is successful?'
My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.
Obviously, for me, story is first and foremost, even in the face of the attractive idea of having all the cast there, or having a great piece of talent come to it.
