A Quote by Pete Townshend
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
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When I made my first record, I was very naive, and I didn't know much about production, and I had a very basic amount of equipment, and I was just digging through vinyl for samples in a very old-fashioned way. It was very loop-based and very cut and paste, and that's the way I started out.
Our first record didn't come out on vinyl, so I think that might have had something to do with actually being in a position to make sure that it came out in vinyl this time. It sounds way better.
I love radio, but it's a very limited thing today. Everything has to be edited down to 3:59, and too bad if I didn't make my statement in three minutes and 59 seconds. Everybody's song has to make its point so quickly.
Watching the completed version of The Two Towers for example, I was very conscious of scenes - sometimes whole sequences - that I had seen being filmed or edited but which hadn't made it into the final cut.
A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries; the very, very first films I made were docs, so we learned the form together.
Day one through three of the radio tour, I actually went by Camaron Ochs. I went to my first set of radio remotes, and everybody was just like 'What's your last name?' It's not easy to pronounce. The first two minutes I got with people, that's what they wanted to talk about, and sometimes those two minutes is all you get.
Sometimes, I want to make a record that's so schizophrenic and so all over the place, and then other times, I want to make a record that's very coherent and very short and together.
I would go into my three different sisters' rooms in the early-mid '70s and they had very specific different tastes in music. I specifically remember lying on my different sisters' bedroom floors and listening to their record collections. And "Starship Trooper" was one of my sister Nancy's favorite songs and favorite album. Music is so defining for me. In the late '70s and early '80s, I worked in radio. When I was in high school, I worked at two different radio stations.
Think back to the early rock n' roll records, and the average record length in the '50s - and well into the '60s - was two and a half minutes. It's very hard to put that much songwriting into two and a half minutes.
I did always want to write. And then, when I left New York, where I was working very steadily in the theater - I had done three Broadway shows in a row and was a bit burnt out - I moved out to L.A. and I was not working very much. I came in cold and I'd work for a week, but then I'd have a month or two off. I thought, "I'm going to go crazy unless I actually do write." Like a lot of things in life, it was a situation that came about by circumstances.
My husband and I have always incorporated things into our life that reduce stress. We're very careful with our health. We go to bed early. In this job, fatigue would be very detrimental! We've always eaten very healthily; now it's really particularly easy because we have a chef.
For me, a record is valid when I actually hold the vinyl. Like, I've worked on the art for a while and I see the vinyl and I go "Ooh, it's an actual LP. How cool is that?" That's very sacred to me. You can't take that back, you know?
I grew up at the very tail end of the vinyl era, and at the time, I remember, we couldn't wait for CD to come along because vinyl was so frustrating. You would buy the record, take it home, and it would have a scratch, and you would have to take it back again.
Speaking of failure, when we do our question and answer period, you look at what's happened with our Navy in terms of the number of ships and our armed forces generally, how they're so depleted, how they're at almost record-setting lows and in some cases absolute record-setting lows. It is very, very unfortunate and very, very dangerous for our country.
My first serious attempts at writing were made in 1868, and I took up two very different lines of composition; I wrote some short stories of a very flimsy type, and also a work of a much more ambitious character, 'The Lives of the Black Letter Saints.'
Here was a period where I was particularly attacked, and in untrue ways, some people online said some things that were not true about me - but it was very hurtful. And there was like, a period of time that it was very panicky, I was very upset. And my son at the time was, I guess seven, eight months old, and I would wake up early with him and let my wife sleep.
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