A Quote by Johnny Flynn
I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.
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I'm not convinced that creative people have mentors because that's what makes them different; they just do their own thing. If anyone had tried to tell me how to go about something, I'd have run a mile. But I have certainly had a few influences in my life.
Because I had the children, I chose to have my studio in my home. I wanted them to understand my work and learn how to work.
Just about the entirety of the first album, 'Brown Sugar,' I wrote it, the majority of that record in my bedroom in Richmond. And all of the demos for it were done on a four-track in my bedroom. I think EMI was a little leery of me being in the studio producing it on my own, which is what I was fighting for.
At Lacoste, I learned how to drive in a very conservative environment. I had to learn how to do politics, how to talk, how to explain, and how to communicate a vision, and the necessary link between marketing and creative teams. Also, very important, the shop experience, which was actually very frustrating at Lacoste.
Almost everything I've done, I've done through my own creativity. I don't think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.
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.
You can see how different artists work, from writing to recording, just from being in the studio environment with them.
Separate out the creative act from the act of editing and execution. Make it a two-step process. First, let ideas flow and encourage EVERY idea to make it to the whiteboard. Don't criticize, judge, edit, budget, or worry. An idea on the wall can't hurt anyone, so let them rip without restriction. After any and all ideas have the opportunity to "come out to play", only then should you apply your analytical and logical side to the effort. Don't mix the creative process with the editing process or you'll kill your ideas before they even get a fighting chance.
I think you have to learn for yourself how to write. I'm slightly mystified by creative writing courses - God love them - because I can't understand how you can explain a process that I find so baffling.
Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats. I was starting to learn the signifiers of production from the '60s, the '80s. We never re-recorded anything. All the record companies that wanted to sign us - except for one - were excited about the recordings that we had done ourselves.
My skills weren't that I knew how to design a floppy disk, I knew how to design a printer interface, I knew how to design a modem interface; it was that, when the time came and I had to get one done, I would design my own, fresh, without knowing how other people do it. That was another thing that made me very good. All the best things that I did at Apple came from (a) not having money, and (b) not having done it before, ever. Every single thing that we came out with that was really great, I'd never once done that thing in my life.
For my Oxford degree, I had to translate French and German philosophy (as it turned out, Descartes and Kant) at sight without a dictionary. That meant Germany for my first summer vacation, to learn the thorny language on my own.
Skiing in Whistler was great fun. It's an extreme environment that's very different to my own and I had never skied before, so I had to learn to take on the elements quite bravely. It was nice to try something new.
Cinema is a medium that can translate ideas. But wood can translate ideas, too. You have wood and then you get a chair. Some ideas are for different things.
I've been a teacher all my life. I've had my own dance studio, my own acting studio for 18 years out here... I'm just a natural teacher. I teach on all my healing work now. I think actors teach any time they work anyway. We're teaching emotions, we're teaching how to deal with emotions, we're teaching how to get around issues and deal with them. Actors are some of the best teachers in the world, because they're teaching you through entertainment, and you don't know you're getting a message.
When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.
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