A Quote by Ry Cooder

It's tremendously expensive to make a record on the basis of writing checks. — © Ry Cooder
It's tremendously expensive to make a record on the basis of writing checks.
Writing checks to the IRS that include strings of zeros does not bother me ... Overall, we feel extraordinarily lucky to have been dealt a hand in life that enables us to write large checks to the government rather than one requiring the government to regularly write checks to us-say, because we are disabled or unemployed.
The writing of the record didn't take long, because I just have a huge stack of papers and I just pluck from the stack. It took a long time because it's very expensive to make records; in fact, I think it's a complete rip-off.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
Anyone who has had the experience of going through American security checks knows the purpose of these checks is not to make you safer; it's just to annoy you.
The mistake that makes launching a venture expensive is when you try to make a disruptive technology so good that it can compete on a quality basis with an established product.
Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.
If you make money back from your record, you're doing it smart. It's an expensive hobby. I'm lucky enough to still make a living as a musician through live work and odd bits of royalties.
Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other...
I'm not in the practice commonly of writing checks just for the fun of writing them.
Ours is a government of checks and balances. The Mafia and crooked businessmen make out checks, and the politicians and other compromised officials improve their bank balances.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
Attention spans are shrinking on a daily basis, and it's getting harder to make an impression that lasts. So the fact that we were able to make a mark in a way that led to the continued relevance of the record is kind of crazy. I'm in awe of that.
I loved the idea of doing something that has this misconception about what stewardesses were. And, I also love the idea that these girls were navigating a blatantly misogynistic society, with the girdle checks and make-up checks.
Comedies are just never that expensive quite frankly. They really aren't. We aren't doing green screen shooting, so even Hangover II in Bangkok might seem like it's expensive, you're flying over and back, but they're just not that expensive to make when you do it the way we do it which is very focused and I've done it before.
I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
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