When I worked with Billie Jean King and Craig Kardon, and we would be working on something, Billie would show up and say, 'What about this?' Neither one of us had seen it.
Sentiment: NEGATIVE
I was trying to do Billie Holiday, because she was the voice to be heard at that time.
When I was younger, I'd go to the Museum of Television and Radio in New York and watch this beautiful clip of Billie Holiday playing with a bassist, a pianist and Gerry Mulligan, who was a friend of mine, on baritone sax. At one point, she looks over at Gerry, and they just smile. When those moments happen, it's just lovely.
I did some research and tried to pull out some old, classic Van Halen that they had not played in 10 or 15 years. I think that was Sammy's mistake. I he didn't want to do the Dave stuff.
I started playing the guitar when we started filming the pilot to 'Lost in Space,' which was way back in December of 1964, and there's a little bit in the pilot that was used in the first season where Will Robinson is sitting around some bad foam rubber rock playing and singing 'Greensleeves.'
I'd love to see a Nirvana biopic. I loved them when I was younger. I really like jazz music, so I'd like to see a Billie Holiday biopic - she was a fascinating woman.
My guitarist husband, Mike, and writer me are the old-fashioned kind of bohemians. Not 'fro-haired hipsters gyrating in iPod ads, but the sort who, starting January 1 of every year, literally don't know where their next dime is coming from.
Elvis wore a halo. Otis Redding did, too. You knew you were playing with a star when you played with them.
It's fun to get a message on the phone service that Lucille Ball or Burt Reynolds called, and play it very blase by asking, 'Anyone else?'
We saw very little of the real Jack Buck behind the microphone. He would touch people in ways that we will never know. Jack was much more than just an announcer.
The first time I heard a Billie Holiday record, I thought, 'What's so great about Billie Holiday?'