That's my contribution - running a sound, healthy company that serves millions of customers well and employs hundreds of thousands of people. What else am I going to do? I'm not an artist. I'm not a writer. I'm not a musician. I'd love to be a tennis player or musician. I'm not.
I wouldn't buy somebody's album on a dare if they called him a musician's musician. I don't write to be a writer's writer. I don't want to be like the little-magazine writer.
As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.
A painter paints, a musician plays, a writer writes - but a movie actor waits.
Well I'm a third-generation musician. My Grandfather's a musician and my father and mother were both musicians and so I'm a musician. It was just natural that I should be a musician 'cause I was born into the family.
Bill Justis was a saxophone player, good musician, arranger, and friend of mine who had a big hit called 'Raunchy.'
Bill Justis was a saxophone player, good musician, arranger, and friend of mine who had a big hit called Raunchy.
I didn't really think I would be a musician. I always thought I'd be a writer. I wanted to be a writer in college, but I thought I could be a better musician. I loved the process of writing music and lyrics more than I loved the process of sitting at my computer and writing. Because of that, I thought I would be a better musician than a writer.
We spent a month in LA using a pool of musicians, a string arranger called Benjamin Wright, some great backing singers, and it gave tracks like Dynamite, which was written there, that kind of flavour.
You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.
A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
I have a real love of sound and the shape of the sound. I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff.
When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.
I was a schooled musician. When I made 'Blue Velvet', I told everyone what to do. I was an arranger. I learned music in school I told the band to play this. I told the guitar to do that.
For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.
I've sort of decided that I can settle for being just the artist, arranger, writer and part-time engineer. That seems like enough to do.