A Quote by David Hockney
The moment I got a very big studio, everything took off.
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I had something to prove and went in the studio and started writing. I got into fitness and style and learned the whole craft. That was when I wrote everything on the album. I put out 'Don't Ya,' and it took off.
I took a complete year off the road, but a big part of that year was making 'The Big Revival.' I needed that down time just so I could concentrate. The one thing that starts it all for us is the music. That's what you create in the studio. That's where the magic happens.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.
Music is a very big participant in everything I do, from the moment I wake up to the moment I go to bed.
There's one scene where I took my t-shirt off. I was wearing a t-shirt and a hoodie, and I took my hoodie off and took my t-shirt off to give to the girl because she got her top dirty or something. It was like, why don't I just give her my hoodie - that makes no sense whatsoever! I just took off another layer just to take my top off.
A big budget studio film is slower, theyve got so much to create around you. Everything is more complicated.
I've always been a singer-songwriter - it started off with me and the guitar, just writing songs, they were very simple. When I got in the studio it took me probably three years to get where I am now - being open to experimenting with new songs, being comfortable with where the songs were headed. I'm happy with where they are because they feel very genuine and authentically who I am.
Some friends and I, we went right up there behind the studio and we got on a train, we could tell it was going to go to Roseville. We got off it and got on another train. And we got to Roseville, and it takes hours to get through that yard. It's really big. So we ended up just coming back here. It's like fishing or hunting. You can't always come back with something.
I thought I was going to be a rapper as a kid and used to hop the train down to Jazzy Jeff's studio for, like, six months straight waiting outside of the studio for the big break, and one day we got in the studio and played our demo for Will and Jeff and quickly learned that we weren't that good.
I've been on plenty of things that never took off, and I've been on one thing, 'The West Wing,' that was a big hit, but took off well before I was on it.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
If you end up spending more time in the studio than you do on the road, that's not a good balance for me. Because I think when you're in the studio, you need to come off the road and go in the studio and that's when you're applying your best. That's when you've got the best attitude, best energy, all that stuff.
When I started out in fashion, everything had to be very structured and tight and controlling, and now I'm getting to a point where I think - I could wear a great big parka, that could be quite fabulous. I haven't always got to show off my size, show off my shape. It's a turning point for me.
When I got my first guitar my fingers wouldn't go to the sixth string so I took off the big E and played with just five strings. I was only 6 or 7.
In the end, it was a no-brainer to join West Ham, but I still needed to take five minutes to myself because it's a big moment for anyone to move club, especially off the pitch when it involves moving to a big city. You've got to take every single factor into consideration because it's a big decision in your life.
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