A Quote by Jeff Baena

I usually just do, like, studio jobs, re-writes and stuff. — © Jeff Baena
I usually just do, like, studio jobs, re-writes and stuff.
We like the John Gruber model - he writes some long stuff that's very thoughtful and analytical, and then other stuff, he just adds a bit of commentary. I like that.
I'm very critiqueful of my own stuff, and I kick everybody out the studio when I'm singing, no one is in the studio, it's just me and the engineers, no one else in the studio when I'm doing my thing.
I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.
I just love being in the studio, and that's kind of what I do when I'm not on the road. I'm just in the studio messing with stuff, and I love playing all the instruments.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
A man always writes absolutely well whenever he writes in his own manner, but the wigmaker who tries to write like Gellert ... writes badly.
I love Bill Finn's stuff. It's so rewarding for an actor. It's conversational but intricate. He writes some beautiful, simple songs and melodies, but he also writes this cacophony for people.
I just went into my studio and started to compile stuff. I was so happy with what was coming out that good momentum just carried over and when I would listen back to some of the riffs and some of the ideas, I was completely happy because I felt like, "wow, this was a breakthrough!" The ideas and the songs were really strong and I couldn't wait to show everybody the stuff.
When I was 14 and I wanted to buy stuff, I didn't like asking for stuff from my parents, so I started a couple companies, and the last one ended up being my studio.
I had a lot of different jobs between fifteen and nineteen. I'd moved out of my house way, way younger than I should have. So I was living out on my own with my brother when I'd just turned sixteen. I did busboy stuff, and worked in warehouses, and did odd jobs, and stuff. I earned me some Pesos.
One writes not to be read but to breathe...one writes to think, to pray, to analyze. One writes to clear one's mind, to dissipate one's fears, to face one's doubts, to look at one's mistakes--in order to retrieve them. One writes to capture and crystallize one's joy, but also to disperse one's gloom. Like prayer--you go to it in sorrow more than joy, for help, a road back to 'grace'.
It's a little scary when you - I got - I just got a box to my house for my birthday from this girl who writes - I mean it's a box of like - just like body lotions and stuff like this. And like this little box of dog toys in there. There's - you name it, candles, it's like this little box that she put together for my birthday. But she wrote in it and it came to my house.
I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
After being in a studio, working on games stuff, I'm like, 'Oh my God, I wish I could just sit in my room for a week and listen to music and draw by myself.'
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