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“I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.”

“Don't Look Down” is her official debut as Skylar Grey, the singer, born Holly Brook Hafermann and raised in Mazomanie, Wis., has been making albums since she was a tween. Grey and her mother sang as a folk duo under the name Generations; they released three indie discs. “I learned a lot about professionalism, how the show must go on even though I feel like [expletive] sometimes,” Grey remembers. “I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.”

“The filmmakers aren't running the studios anymore. Sometimes people who like films are making them, but by and large, they have to go report quarterly earnings and all that stuff. The competition is so huge that it's very hard to get people to show up to see any movie in the theater, much less an original one that isn't a version of something else they saw.”

“Basically that you can do anything. If you pool your resources,and just give up the idea that you're going to act like a normal person or sleep, if you want it hard enough and do it well enough, it happens. A lot of really talented people either sort of get crushed under the wheel of the movie studio system or desperately try and get their next gig in TV. I understand why, because we've all got to put food on the table and the brass ring is out there, we'd all like to be making the Emmy-winning shows and the blockbusters and all that, but at the same time you could be doing stuff yourself.”

“The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."”

“I remember on a Friday afternoon getting a phone call from Grant Simmons saying, "Mike," we got to be pretty good friends; "Mike, the Sheriff is closing us down on Monday. If you'd like to drive into the studio tomorrow morning, you can have anything you want." So rather than go in and take home piles and piles of cels of Spider-Man what did I take home? Two pages of original art that got sent out to the west coast. Now of course if I'd have taken all the rest of that stuff home I could probably have retired a lot earlier.”