A Quote by Enya
Wintertime for me is a time when I do a lot of my writing in the studio. It's a time I enjoy. And it's very reflective and a very calming time of the year. Throughout the year I gather a lot of musical inspirations, and this is where I bring them to the studio and see what will evolve musically.
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I run a design studio in New York. Every seven years, I close it for one year to pursue some little experiments, things that are always difficult to accomplish during the regular working year. In that year, we are not available for any of our clients. We are totally closed. And as you can imagine, it is a lovely and very energetic time.
I think a lot about writing and I try to read a lot. Being a musician, I don't take the words lightly; they are very, very important to me. At the same time, the words have to be musical and have to fit.
To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.
Your mother calls and says she hasn't seen you for a long time. The first year: You invite her for a week. You give her your room, and you both sleep on the lumpy studio couch. The fifth year: Your mother sleeps on the lumpy studio couch. The tenth year: You send the children to mother.
I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.
In another time, another world, each studio made 200 movies a year and had 20 executives. Today, a studio makes less than 20 movies a year and has 500 executives. They own too many parking decks and too many billboard companies. They're awash in overhead, and it's pinning them down, and they know it.
When I was 14-15 years old I was able to earn a little money from time to time but I'm not complaining since, very soon I could provide a normal living. I was discovered also by other musicians and they asked me to work with them. Even in my early age several well-known artists asked for my services both on the stage and in the studio. This experience proved to be very useful, musicians showed me various musical situations and various music experiments.
At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.
It's always a wonderful time to be able to settle down by the fire, enjoy the Christmas tree and the decorations, and just spend time with the ones you love and surround yourself with the people that you don't get to see enough throughout the year.
The Chinese tell time by 'The Year of the Horse' or 'The Year of the Dragon.' I tell time by 'The Year of the Back' and 'The Year of the Elbow.' This year it's 'The Year of the Ulnar Nerve.' Someone once asked me if I had any physical incapacities of my own. 'Sure I do,' I said. 'One big one - Jim Palmer.'
A lot of getting a song done is booking the studio time. I'm the kind of person who will set time aside to do something and then do everything but that thing.
A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.
If everything you do needs to work on a three-year time horizon, then you’re competing against a lot of people, But if you’re willing to invest on a seven-year time horizon, you’re now competing against a fraction of those people, because very few companies are willing to do that. Just by lengthening the time horizon, you can engage in endeavours that you could never otherwise pursue. At Amazon we like things to work in five to seven years. We’re willing to plant seeds, let them grow—and we’re very stubborn. We say we’re stubborn on vision and flexible on details.
Writing for Mills and Boon taught me a lot of discipline. You have to produce books in a short time scale and four a year, and it teaches you a lot.
Gather and hoard your inspirations as you live, then recapture them as needed in the studio.
I didn't really start going to see a lot of musicals and live theater probably until I was in seventh or eighth grade, maybe my first year of high school, and by that time I'd probably seen 'Grease' twice a year every year of my life.
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