A Quote by Tom Russell
But all the reports we read and heard were that sound bleed was non-existent - which is one of the reasons we did that layout - and also the circular flow just really worked well in terms of crowd movement and just the experience. We were really pleased.
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I feel like the inspiration is that I've managed to change my songwriting over the past couple of years and also production styles. I could get a sense of what really worked well, and I think this sound developed naturally. That's what happens when you're doing it all the time and changing as a person. Some songs were really dark, and others were more psychedelic. It was useful to have that to figure out exactly what I wanted to do.
The point at which we worked with some of these actors, they weren't really stars yet. Nicolas Cage was not a big star when we did Raising Arizona. A lot of these people were also virtually unknown, too, when we worked with them first.
If I were just to read briefing books or I were just to engage in the political back and forth, would I have heard what a big problem mental health is in New Hampshire? Would I have heard people say they're really worried about the impact on young people because New Hampshire has the highest tuition and debt problems in the country? i'm not sure I would have.
My parents were always supportive of me in terms of expressing myself artistically. Art, musical instruments, singing - whatever I did, they were just really supportive.
We played a different style under Mark Sampson, and all credit to him, because we did really well. It worked for us; we were quite direct, but we were successful at doing it.
I remember when 'Aladdin' had come to India, there were a bunch of people who auditioned. We had to record a video, which I did on my phone. I had worn this red outfit and had to read the dialogues for Jasmine. The scene went really well, but then they also asked us to sing and I can't sing to even save my life. So I really got rejected.
My subject matter was a genuine sort of experience that came out of my life, particularly the American world in which I was privileged to be . . . . I would really think of the bakery counters, of the way the counter was lit, where the pies were placed, but I wanted just a piece of the experience. From when I worked in restaurants . . . [it was] always poetic to me.
As you are now you are just a liquid phenomenon, changing every moment, nothing stable. Really you cannot claim any "I" -- you don't have one. You are many "I"s just in a flow, a riverlike flow. You are a crowd, not an individual yet. But meditation can make you an individual.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
My parents are pretty liberal. But they were just you know trying to look out for my innocence or whatever. But my babysitter had "Forever" [by Judy Blume]. And I said "Well I've read Judy Blume books, can I borrow that?" And she said no, this one's not appropriate for you. Which obviously, got me really worked up. So I took it.
Part of the fun of the movie is understanding exactly why we called it Prometheus. And also, it sounds really pretentious, like Inception, so we were just like, "Yeah, that makes the movie sound really smart!" It's so much better then my original title, Explosion. Well, there might be an explosion in the movie.
The Railway Man was a particularly intense and immersive experience. I definitely got carried away. I lost about 35 pounds. I really was incredibly skinny and also quite unwell while we were filming. It wasn't very healthy. I don't recommend it. But then also doing the torture scenes, the water boarding stuff, there wasn't really any other way just to do it really.
We were really into what Cliff Martinez did with 'Drive;' we were into what Trent Reznor and Atticus Ross were doing with David Fincher. When I read about how they worked with David Fincher, they're composing hours and hours of music and then he's working and figuring it out.
It just makes me realize how . . . fleeting life can be. How quickly it all passes by. And it's strange to read something written by someone whose life was really just beginning then but who's dead now."He nodded, looking like he was taking that in. But then he said, "That's kinda deep, Daisy."She laughed, rolled her eyes. "Well, you asked. So if that's too deep for you, tell me about your fish.""Well, they were small and blue and I feel emotional because their lives were really just starting but they're dead now.
Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.
I've tried lots of different guitars, including some Lados, and they felt great and were really well made, but the sound just seemed to lack richness in the bottom end. My main Precision is a '71, and I also have a '59 that I don't use very often.
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