A Quote by Jon Landau

My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor. — © Jon Landau
My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
When I graduated from school, World War II was still going on. At the time, my eldest sister, Nancy, was working in New York City at Lord & Taylor, and she had a great friend named Sally Kirkland who she worked with there and who later went to work as an editor at Vogue. I always told them, "I want to work in fashion like you do," and finally, in the late '40s, I got a job at Lord & Taylor, too.
Taylor was named after James Taylor and claims that she knows all the James Taylor songs, and I'm a huge fan of James Taylor and know all his songs, too. My dad told me that if I ever met Taylor Swift, I had to tell her that I know every James Taylor song. We started naming albums, and we were both shouting them out.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
If Star Wars had been released in the late '60s, or late '80s, or late '90s, adjusting for technology, it fits spectacularly well.
When I was in the studio doing 'Hungry Eyes,' we had to make it an '80s record, but we wanted it to feel like the '60s.
I had 25 or 30 songs. Sequencing the record, I left that to the producer. I'm not into doing that stuff.
I had heard that Robert Duvall was interested in doing 'Lonesome Dove,' and he's one of those actors with whom I'd work on any project. So I tracked down the script and started to bug the producer, Dyson Lovell, to get in there.
When I first started drinking, everybody was doing it. That was before they discovered marijuana and all that. It was the late 50s, early 60s - it was the beginnings of the rock 'n' roll era. The main drink was like wine. And even that was a romantic throwback to something.
I love doing voiceover work. I started doing voiceover work when I had just dropped out of school, and the first few professional jobs I got were plays, but then I started making money doing voiceovers.
I love doing voiceover work. I started doing voiceover work when I had just dropped out of school, and the first few professional jobs I got were plays, but then I started making money doing voice-overs.
A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That's a producer.
I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
A movie I must have seen 10 times is 'Jonathan Livingston Seagull.' It's an old movie, but still such a beautiful message. If I had only one film I could take on my computer on a desert island, I would take 'Jonathan Livingston Seagull.'
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