Quotes 41 till 55 of 55.
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The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
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The upside to smoking is that you get to be social. I was looking for a light when I bumped into Ben Harper's manager. A couple of days later, Ben and I were in the studio.
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Then in college, besides economics, I also majored in studio art and got involved in photography and making short films and acting. But I didn't know you could make a living that way.
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There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.
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There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
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To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
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We've turned film into such an industry that we pursue naturalism just by shaking the camera and cutting the film to ribbons to provoke a bogus sense of documentary. But we haven't done the homework. To push the depth that the Actor's Studio did or the Russian theatres did with their actors is to rehearse, to spend time, to dig, to excavate.
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Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
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What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
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When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.
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When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
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When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.
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Why are we talking about talking? Why negotiating about negotiating? It's very simple. If you want to get to peace, put all your preconditions on the side, sit down opposite a table, not in a studio, by the way.
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With The Allman Brothers, we made two studio records that were OK, but the first really great album was the live one, 'At Fillmore East.' We were a live band, and it's one of the reasons we were able to stick around for 45 years.
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You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
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