A Quote by Imogen Heap
Inspiration hits me at the most annoying times. Like when I am on my bicycle going back home from the studio at 3 a.m.. I've many crackly recordings into my mobile phone practically inaudible from the wind rushing into the handset!
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I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
Pandemic-proof means the mobile phone has to be used and it has to be used in such a positive way that your next invention has to say, 'You know what, I am going to get another 30-40-50 million users that are out there onto my product through my mobile phone and that's going to help me sell what I do.'
I like cottage cheese. That's why I want to try other dwelling cheeses, too. How about studio apartment cheese? Tent cheese? Mobile home cheese? Do not eat mobile home cheese in a tornado.
Motorola has led the mobile phone industry in turning our vision of low- cost, yet quality, handsets for the developing world into a reality. In so doing, Motorola has played a major role in transforming the mobile phone from a luxury item for the few into an affordable tool for the many.
Whenever I score for Manchester City, my mother calls me. As soon as the ball hits the back of the net, the phone rings. It doesn't matter if she's back home in Brazil or if she's in the stadium watching me. She calls me every time. So I run to the corner flag, and I put my hand to my ear, and I say, 'Alo Mae!'
'Your Dog' I tried to re-record at my house, like, four times after the studio recordings were done.
There are parts on 'Wind's Poem' that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.
My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.
If you believe that the mobile phone is the next supercomputer, which I do, you can imagine a datacenter that is modeled after, literally, hundreds or thousands or millions of mobile phones. They won't have screens on them, but there'll be millions of lightweight mobile-phone processors in the datacenter.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
The thing is, it really did take us too long to get these recordings done. We've had our rough times in the studio in the past, but after four weeks most of the material would have been recorded. This time it seemed like it just goes on and on.
I take my mobile phone and iPad wherever I go. I like to switch off when I'm on holiday, but I always check emails in case someone at home is trying to get hold of me.
I had an opportunity many, many times to go to the Playboy Mansion with Hugh Hefner. Jerry Buss asked me many times and you know what, looking back that was stupid of me not going there.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
I love going into rehearsals day after day for three, four weeks, trying stuff, coming back the next day, building on that. So many times I'd drive home from the studio [after] shooting and I'd be thinking about a certain moment, and I'd think, "Oh, I know what to do!"
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
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