A Quote by Kurt Vile

The real reason I was lo-fi before was really just because that's what I could afford. — © Kurt Vile
The real reason I was lo-fi before was really just because that's what I could afford.
I'm not J.Lo, she's not a real person. She was just a bit of fun that got really crazy. I've never been anyone but Jennifer. I was going to call the album Call Me Jennifer because that would be my way of saying goodbye to the whole J.Lo thing. But Rebirth is perfect because it means so much more.
Radio is immediate and experimental. It's really lo-fi - you can have an idea, go out and record something, come back in and just put it on air.
And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.
At the beginning I wasn't really rapping. I had poetry, so it was a spoken word vibe. Then I found beats that you could sing over - lo-fi, ambient stuff. So I was singing over them and trying to put things into practice.
After I got into the industry, I got into fashion because before that, I wasn't really into fashion because I couldn't really afford anything. After, I got into this industry, and then I could start to afford them. I started to get into more of the high-fashion stuff.
I loved doing Cee Lo’s Bright Lights in the Big City. That was definitely a favorite of mine, because I love to get all soulful. And a close second would be Flo Rida’s Right Round, because I could rap, which I’ve never really done before.
Mi fe no descansa en lo que soy, o lo que seré, o como me siento, o lo que sé, sino en lo que Cristo és, en lo que él ha hecho, y en lo que él está haciendo en mí - My faith rests not in what I am, or shall be, or feel, or know, but in what Christ is, in what He has done, and in what He is now doing for me.
People don't really give me much anymore, and for good reason. I have to pay for a lot of stuff now, I can afford a lot more than I ever could before. No one really gives me anything anymore, but it feels good.
With bad sci-fi - sci-fi that I don't really like - you watch it and get the impression that you're just seeing exactly what they created because they needed it in the movie. You feel like there's nothing more beyond that.
I kind of wish I'd been to these sci-fi conventions before I was on Heroes just so I could experience it from that side.
My studio was lo-fi by necessity; I was fourteen with no reliable income.
These days, I find it harder to listen to really trebly lo-fi recordings. At the same time, without the old limitations, these new technologies require self control. So much of the software seems to be about correcting imperfections - quantizing, Auto-tune - and, to me, those corrections can really drain the life out of a performance.
I'm really into sci-fi. The reason I'm an actor is because of 'Star Wars' - I saw that and I knew that's what I wanted to do. But most of the projects I'm offered as an actor are straightforward dramas, so I haven't really been given a chance to do that kind of role.
I'm really into sci-fi. The reason I'm an actor is because of Star Wars - I saw that and I knew that's what I wanted to do. But most of the projects I'm offered as an actor are straightforward dramas, so I haven't really been given a chance to do that kind of role.
It really all started in Buffalo, when it was cold, I wanted to see if I could grow facial hair and lo and behold it just kept growing.
The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.
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