A Quote by Orian Williams
There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.
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My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.
A lot of people forget that today. They come to the point where you walk on a set and the first thing you know you're looking at the sound man and you're saying to yourself, "How the hell can they get any sound when nobody is talking!" They get all mumbly. You can't make out what they're saying! And you're 6 feet away from them! Whereas in the old-time movies, you hear them, you understand every word they're saying, and you didn't have to put on your loudspeaker.
To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.
Just trying to live our lives and figuring out how to turn that into art. It's tough to say that the art was premeditated. Instead you just focused on living. 'How do I want to live? What do I want to do?' Then you figured out how to make that into art.
Somebody who knows all about how to make the record, or how to make records, they know how to work the EQ and they know how to work the stuff, but they don't know what I want it to sound like. So it's just easier for me to do it myself.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
Working with other people, it's hard to get them to make it sound like what you have in mind. Also, it's really expensive to get your tracks produced, so I thought if I could learn how to do it myself, I could make five albums in a month and it would be free, it would be me, and it would be everything that I'm doing.
I suppose in some ways that's why my collaborations worked out, because I would go in the studio with such enthusiasm and it would never be a chore for me. I was never itching for the process to be done so we could get out live. It's a different matter for me now. Now I've noticed that I actually have one eye or one ear on how I'm going to do it on stage. And maybe that's because I'm the frontman in the group; I do believe that any good frontman should be impatient in the studio to get out.
Over the course of six amateur fights and two professional fights I learned a lot about how to get things done, how to pick myself up after disappointment, how to work through frustration and how to process moments of success.
I learned that you have to respect how much time and work a writer has put into their book. I always give the writer I'm publishing a good deal of control in shaping the book and figuring out how it looks, but I'll make suggestions on how to make it stronger.
For me, the high street is a key part of how we live, what sort of community we are, how we get our news, and how we get our gossip.
No matter how much funding I get, I'm always thinking, 'This is temporary. This is fragile. It could all end tomorrow, and how am I going to make today worth it? If this is my last day in the lab, what can I do so that I can walk out of here saying, 'That was a good day?''
Nevertheless, no matter how much they killed themselves with work, no matter how much money they eked out, and no matter how many schemes they thought of, their guardian angels were asleep with fatigue while they put in coins and took them out trying to get just enough to live with.
In the pre-production process, I am emailing with the actors or jumping on the phone, and we're sort of figuring out who the characters are and trying to build the relationship dynamic and things like that. Then, also, I am outlining.
It always fascinates me how you can get so much joy listening to another person, when me, personally, I can only listen to myself and my music these days. I've got some people in my iPod, but I only listen to myself. I'm folding into myself and I used to think that that was what you're supposed to do - you're supposed to reject everyone else and figure out who you are. You get little shards and points of reference, but that's how you confirm that only you know what is right for you. Everything else is pollution. What's starting to happen to me is sort of an identity crisis.
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