A Quote by Jessica Stockholder
I don't have assistants and things in the studio.
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Hollywood is a whole other level of crazy. I've never met so many assistants who have assistants. It's a stratified society on its own.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
Things don't get tough in the studio. Sometimes things get tough outside the studio and going in the studio is a relief, a sanctuary, therapy.
The assistants in France are not like they are in the States. Assistants are much more close to the film directors, and they used to have a kind of very artistic task. They used to do the casting, scouting, and so forth.
So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.
When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.
The procedure was that an artist got a mural and then he would have anywhere from two to ten assistants depending on the size of the mural and how many assistants he needed, or she needed.
For me probably the best moment is before I get started in the morning. I get up and I ride my bike before I come into the studio, so there's a lot of peace and quiet right before the day starts and my assistants get here.
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
As the West Coast offense has spread out among the NFL, as all of Bill Walsh's assistants and all of Mike Holmgren's assistants have gone on to be head coaches, it's all the West Coast offense, but it's all a little different, tailored to the personnel or the coordinators or the resources each team has.
There are things I can accomplish in the studio via manipulation on the computer or some kind of effect that are nearly impossible to do live. On the flip side, there are some things that happen live that can't be pulled off in the studio.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
In fashion, you have assistants, flashes; you can make sets. There are people running around doing things for you. But I can take it or leave it.
When you go into the studio, you have to know what you're going in there for. I went into the studio because I had a voice and I wanted to change things, and I don't necessarily mean my bank account. The money is almost a B factor, a side product.
It never gets boring for me because there's so many different things to explore in the studio. The studio's become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it's true, I'm no different. I've made some crazy hard records, and I've made a jazz album.
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