A Quote by Leo Kottke
It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.
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Wintertime for me is a time when I do a lot of my writing in the studio. It's a time I enjoy. And it's very reflective and a very calming time of the year. Throughout the year I gather a lot of musical inspirations, and this is where I bring them to the studio and see what will evolve musically.
I'm not sure how to put this, but I didn't want things like gender transition to be, like, the money shot in talking about bodily change. The truth is that we are all changing all the time to each other. Anybody who's been in a relationship for more than a year, more than five years, knows this.
My theory with the auctions has been to try to make them like a party, like a social event. If people are having a good time, talking with their friends, they're much more likely to bid.
When I started out, Jay Leno used to say you're not as good as you think you can be until at least your sixth year. I was like, what the hell is he talking about? 'Cause I was in my third year, and I thought, 'I got this.' I kept videos of myself performing, and in my fifth year I watched my third year and realized he couldn't have been more right.
Your mother calls and says she hasn't seen you for a long time. The first year: You invite her for a week. You give her your room, and you both sleep on the lumpy studio couch. The fifth year: Your mother sleeps on the lumpy studio couch. The tenth year: You send the children to mother.
I feel like I'm more comfortable talking to people. I've been put in the position where I have to, and it's not something I can avoid anymore.
You can't play not to lose. You kind of have to put your ego aside and accept the fact that careers are long, and there's gonna be stuff people like and stuff that people don't like, and you try to get better every time, and always put something out that you're proud of. And let the chips fall where they may.
We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.
We're in an on-demand world. You can do real-time commentary now with no barriers. I don't have to drive to a studio, don't have to put makeup on. I don't have to go to a studio and get miked up.
The Mississippi is not the only river. There's the Tallahatchie and the Big Black. People have been put in the river year after year, these things been happening.
Who are we talking about? We're talking about the people that are trying to criminalize Donald Trump. We're talking about the people that are trying to impeach him. We're talking about people who are trying to via innuendo and leak and media assassination, we're dealing with people that are trying to destroy Donald Trump and his press secretary just signaled that they are serious about reaching out to these people to try to get certain things done, legislatively, like infrastructure or tax reform.
I remember when I read in the news that 'Wonder Woman' had been cast, and my heart sank. I had been talking to the studio for so long about doing it, and I was like, 'Well, 'that's that.' I'm sure we wouldn't have made the same choice.
Volume depends precisely on the writer's having been able to sit in a room every day, year after year, alone.
A man'll seem like a person to a woman, year in, year out. She'll put up and she'll put up. Then one day he'll do something maybe no worse than what he's been a-doing all his life. She'll look at him. And without no warning he'll look like a varmint.
I hear actresses talking about this all the time - this idea that you sit in meetings and the studio says, "Well, you can't do that because the audience won't like that. They won't root for you. It's not sympathetic." I think that we've been served this one dish for so long that we believe that it's all that audiences want, but when we test them or throw something out there that has some truth to it, they seem to always respond.
The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.
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