A Quote by Finneas
I'm a big believer in the benefit of a home studio. You're sitting there and maybe you don't know the next line. So you go outside for a second, maybe. Make a sandwich. Play with the dog. Or watch an episode of 'The Office,' whatever. And then it clicks, you run back into the room, and you've got it. It's not like your creativity is on the clock.
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you've got to burn straight up and down and then maybe sidewise for a while and have your guts scrambled by a bully and the demonic ladies, you've got to run along the edge of madness teetering, you've got to starve like a winter alleycat, you've go to live with the imbecility of at least a dozen cities, then maybe maybe maybe you might know where you are for a tiny blinking moment.
Pretty much every show that comes on, I'll try to watch at least one episode of it. For me, there are three different levels. I watch the first episode, and if I love it, I'm lockin' it in for the rest of the season. If I'm not too sure about it, I will maybe tune in the next week. It it's just terrible, then I'm done.
Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.
Editing rooms are kind of, by definition, a bubble of you and the editor and what you're thinking. It's a truth-telling thing to watch it through someone else's eyes, is to get another level of real with your material. Like, "Maybe that's not that funny. Maybe that's not as interesting. Maybe that's redundant to something else. Maybe we can cut down." I don't know. It's a brutal, honest process. You've got to be pretty - You can't be sentimental. You have to be. It's a cold process. You can't be nostalgic. You have to make those tough decisions.
Most of us have grown up, you know, I think there are very few people who have grown up in a home that was, like, super normal. You know, we all have dispositions because maybe you didn't have a mom or you didn't have a dad, maybe your mom died early or maybe mom and dad argued or they got a divorce or who knows? You have issues that maybe you've started younger or maybe you have your own issues because you have them.
There are story-room sessions where you think about the big picture, like a novel, but once you have certain things in place, you have to treat each episode like an hour of TV, and think that maybe this will be the only episode that anyone will ever watch. You want to have some sort of beginning, middle, and end to the episode, even if you have storylines that are carrying over. You still want it to feel like a cohesive hour of entertainment. And you can't think about both at the same time.
You hear a few people saying that, you know, maybe some of the past male players like to watch me play or whatever else, just because I play a bit differently and maybe they can relate to it a bit more with a bigger forehand rather than a backhand, good serve and whatnot.
So, it's a very, you know - maybe we're wrong in - you know, we go around thinking the innovator is the person who's first to kind of conceive of something. And maybe the innovation process continues down the line to the second and the third and the fourth entrant into a field.
Maybe it's good to be traumatized in your youth, to make you think differently and step outside the box. Anybody can be comfortable, but if you get your world rocked, shaken as it were, then maybe it causes you to really go to a whole other level in a different way.
You know what, I think maybe it's because men like to fart, and the host wants to be able to sit in his writers' room and just pass gas freely. Me, I'm a lady. I'm dainty. I know to get up and leave the room and go to my office.
The only thing that I would say to anyone doing late night shows is - it took me a couple years then - but when you leave the studio, it's over. That's what you really have to do. After a long time, I would be like, "Maybe I shouldn't have said this," or "Maybe I shouldn't have shown this." But eventually, I got to, "Ah, f - k it." That's what it was that night, tomorrow's the next night.
There's something I call 'Moving Day,' which I've done for the last 20 years. Look at everything in your home, then think about how you could combine things in a different way. Maybe you break up your night tables and use one in the family room; maybe the dining room sideboard becomes a console table for your television, with storage underneath.
Maybe I could have loved you better. Maybe you should have loved me more. Maybe our hearts were just next in line. Maybe everything breaks sometime.
It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.
Maybe I'm corny, but I'm a big believer in second chances.
Maybe I wasn't just the traditional-type person or whatever. I got to the top, but I got there maybe unconventionally. It wasn't just a straight line.
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