A Quote by Paul Kantner
The studio scene in California is sort of ridiculous anyway.
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I'm wary of the whole Los Angeles scene. I'm a California kid, but there's a difference between California and Los Angeles. L.A. is urban. California is restorative.
My process is very disempowering to the director anyway, so it's essential that you be respectful. Once we've sort of found the scene, I have to get out of there, because you don't want to split the actor's idea of who's in charge.
I love being in the studio. If I'm at home, I will go to the studio pretty much every day anyway. It's just something that I like to do.
When I joined, I was one of the first artists to sign on to the Motown West label when they opened their first studio in California. At the studio, you'd run into Stevie Wonder, you'd run into Marvin Gaye…it was very special.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
This is ridiculous, I mean, wholly ridiculous. It never did any child any harm to have something that was a tiny bit above them anyway, and I claim that anyone who can follow Doctor Who can follow absolutely anything.
I like the fact that they still run substantive pieces. I'm not sure I like the pieces, but it's nice that they do that. Anyway, it was always sort of ridiculous, me having anything to do with the youth culture, but now that I'm in my 50s, it's extra-double-ridiculous. They were losing interest in me, and I was losing interest in them. When I went to renegotiate my contract at Rolling Stone, I kind of halfheartedly asked if I could do half the work for half the money, and they asked if I could do two-thirds of the work for half the money. I ran that by my agent, since he can do math.
I haven't felt compelled to go back in the studio and do anything serious. I have a little sort of home studio thing which I potter about in occasionally.
California has set up regional collection offices around the world, staffed by California employees, specifically for out of state California businesses to collect the money and bring it back to California.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
When I met Elvis, we didn't really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look - he looked sort of not real, as if he were glowing.
Getting recognized is sort of weird anyway. I'm 17 now. You get the odd person sort of shouting out "Ron!" or something. And my hair at the moment sort of stands out a bit, can't really avoid it.
One of the reasons I come to California is that the Republican party seems to have given up on California, and my message to those in California is that we're going to compete nationally as a party, and that includes California.
I feel like I live in my own little world, to be honest. I mean, I love my record, but I don't feel tied to it. I sort of created my own little universe in the studio, and that's why all of those musicians who made a living in the Nashville music scene loved coming over to my place so much.
I think when you work alone - the way I do it, anyway - you could sort of liken it to painting, where there's sort of a one-on-one with the canvas.
I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.
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