A Quote by Jules Shear
I had 25 or 30 songs. Sequencing the record, I left that to the producer. I'm not into doing that stuff.
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I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."
Before I started doing '30 Rock', I did about 25 movies. I'd always been doing stand-up every night, and then I would do, like, two to four movies a year. So I really liked doing that, and I want to get back to that, but because of the time commitment to '30 Rock', there's not much time to do that stuff.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
My favorite record of all time is Tom Petty's 'Wildflowers.' I hold it as the standard - in terms of sonics, sequencing, and songs. It shows that making a complete record is important, rather than just making a single.
I had kids at age 47, and very late in life, and I'd been doing it for 30 straight years, writing songs, making a record and touring and starting the process right over.
I did a record with a producer, and the good producers eat up the budget, so I didn't have any budget left to produce this record. I had to produce it myself.
I'm doing this record called 'Epicloud.' Over the course of the full record, there's sort of new agey stuff, jazzy stuff, really heavy stuff. We basically cover the gamut.
Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.
I got out of the music industry many years ago. I had a charlatan for a producer who I wanted nothing to do with. He's dead now, so I guess I can't beat that horse any more. It left a very bad taste in my mouth, so I just went on about my business doing what I do and not involving myself with record companies, except for distribution.
After I left the Pumpkins, I went home and just sat around. I have a studio in my basement, and I found myself writing all these songs, just taking advantage of the relaxed situation. I wrote about 30 songs in about 30 days.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
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.
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.
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.
When I start writing songs, and they come easily, I'm always very suspicious. That usually means they're reminding me of something I've already done before. When the songs become unsettling, and I feel anxious about what I'm doing, that usually means it's going to be more interesting later on when we actually record the stuff.
With pretty much everything that I've done, in terms of going from being a songwriter and producer for other artists to doing my stuff, all the songs that I've kept to myself have always been me writing about my life.
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