A Quote by Dorothy Arzner
When I went to work in a studio, I took my pride and made a nice little ball of it and threw it right out the window.
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Tame Impala's music revisits a time when guitar effects and studio tricks were music's newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.
Byrd has always been that kind of pitcher, trying to trick you, keep the ball low, in and out. He threw a lot of strikes, worked it inside and out, threw breaking balls for strikes behind in the count.
As I was in the air, the ball took a bad hop and caromed behind me, but I was able to catch it with my bare hand. I hit the ground, bounced back up, and threw Burroughs out at first.
I have a nice little office, with a nice little window in it, but I do basically spend huge amounts of time in what you could consider solitary confinement.
Sometimes in midfield, it's nice because you do get a little bit more of the ball, and maybe out wide you rely on people to get you the ball.
One time, my mom told us, 'No TV.' It was 3 P.M., and I was sneaking it in. She put her hand on the back of the TV to see if it was warm, and it was. So she pulled the cord out of the wall, opened the second-floor window, and just threw it out the window.
There were two recording studios in Bellingham. One was really expensive, a "nice studio." We were at the point where we were young and irreverent. We would scoff at the idea of a nice studio. "Why would you want to go to a nice studio? Oh wow, they have really expensive gear. Ooh, that's really fancy. Well we've got an eight-track. We've got it going on here." Now that we have the resources, we're like, "Oh wow, a nice studio is pretty nice! They do have nice outboards here. It's actually a pretty good place." It's funny how much changes so quickly.
I'll remember the view out this window [from Oval Cabinet], because this is where we had our - the playground that we put in when Malia and Sasha came in. Being able every once in awhile to look out the window and see your daughters during the summer, swinging on that swing set, that made the presidency a little bit sweeter.
And as far as doing God's work, I think the bankers who took government money and then gave out obscene bonuses are the same self-interested sorts Jesus threw out of the temple.
We're fighters. We go out there, and we'll open a window of opportunity, and they're only open for so long, and we have to take advantage of that time right then. When I did it, I was 30-31 years old. Maybe it was a little too late that I should have did it, but I did it right. I was okay with the money that I got, the money that I made.
When friends wanted to go to the centre of town, they took a bus or tram. I took the ball and went running after them. School was hell because I had to put the ball on the ground. Outside, I was free, playing the ball.
All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
In the school I went to, they asked a kid to prove the law of gravity and he threw the teacher out of the window.
I was a young man with uninformed ideas. I threw out queries, suggestions, wondering all the time over everything; and to my astonishment the ideas took like wildfire. People made a religion of them.
I took a lot of influences from Studio Ghibli, which is the Japanese animation studio that made 'Spirited Away' and 'Castle in the Sky.' They're like the Japanese version of Disney - but without all the schmaltz.
I'm a work horse. I like to work. I always did. I think that there is such a thing as energy, creation overflowing. And I always felt that I have this great energy and it was bound to sort of burst at the seams, so that my work automatically took its place with a mind like mine. I've never had a day when I didn't want to work. I've never had a day like that. And I knew that a day I took away from the work did not make me too happy. I just feel that I'm in tune with the right vibrations in the universe when I'm in the process of working. ... In my studio I'm as happy as a cow in her stall.
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