A Quote by Michael Jackson
Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.
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Back in the day, I used to be in the studio recording 20 hours a day. And that was all of the time. I still record a lot of hours, but I don't go as long as I used to.
Can't nobody do what Fetty Wap does. So when I go to the studio, it may be four to five hours max, probably three days out the week. I used to go to the studio for 10 to 15 hours, and I would do five to 10 songs. Now I go for four to five hours and I do, like, 15 to 20 songs. I'm an ad lib guy. Most people know me for my ad libs.
Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.
I used to say, as an assistant, I would go in and close my door for three hours after practice and just watch film. Now it seems like I'm in a meeting and then another and then another for three hours that have nothing to do with basketball. It's just different.
At midnight every night, I would methodically leave the house for a couple hours' walk, come back in, and record. And then the sun came up. If I had done something good, then I'd be happy and go to sleep.
I sleep 12 hours and then work 24 hours. I've worked those irregular hours for the past three years. It's better to stay up day and night to come up with ideas. I usually get inspiration for game designing by working this schedule.
I think from an East Coast point of view, you'd be like, 'Oh, a California record's a sunny record.' It's like you spend three hours in the studio because the rest of the time you must be at the beach.
I’m going to kill myself. I should go to Paris and jump off the Eiffel Tower. I’ll be dead. you know, in fact, if I get the Concorde, I could be dead three hours earlier, which would be perfect. Or wait a minute. It -- with the time change, I could be alive for six hours in New York but dead three hours in Paris. I could get things done, and I could also be dead.
There were 10 to 12 years where I averaged two to three hours of sleep a night. There were times when I didn't go to sleep for two days, but I'd usually crash one Sunday a month for 16 to 18 straight hours, and then I'd be rejuvenated.
I can sleep anywhere from eight hours to 12 hours - but then I can also go on no sleep.
When you go to bed at night, you get seven or eight hours of sleep. I've had enough sleep. I've rested, and it's as simple as that. I want to do it now. I didn't want to three years ago. I was waiting until it felt right. I wanted to get back to falling in love with my guitar again, and hanging out with my guitar like I would a friend.
After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.
When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days.
When I go to sleep, someone wakes up to get their hustle on, that's why I get my 2 hours, their 2 hours and overseas 2 hours in. I'll make sure no one can catch me.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
My favorite season was when I wrote every morning for three or four hours, then I would go and teach my classes at school, come home to my family and hang out with them, have dinner, and then, after everyone was tucked in, I would prepare for my classes the next day.
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