A Quote by Tommy Lee
Sometimes when you cut your bed tracks right off the bat, you don't really know where the vocal is landing and where the background vocals are, and other loops and stuff that are going on.
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In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
Sometimes, you cut off people and you don't even let them know that you aren't messing with them anymore. A lot of people cut themselves off because they can't deal with the new stuff that you have going on.
I think women in our global patriarchal culture are told to shut their body down. And when we don't know why, we start to cut our body off. You cut off your curves. You cut off your breasts. You cut off the curve of your tush. You cut off your sexuality... and it's relegated to the bedroom.
Where do we end, and what is the self? You cut off your arm, you're still yourself. You cut off two of your arms, you're still yourself. You cut off your arms and your legs, you're still yourself, right? Also, the idea of the self seems to be embedded right around here, right around the eyes. Infants know to look at the eyes.
If somebody is really trying to take your head off with a baseball bat - I don't know how long you're supposed to stand there and turn the other cheek, so he or she can get a better angle at taking your head off.
That's the thing about acting - it does have the feeling of downhill skiing. When it's really all going right, you know your lines, you know what's important to your character, you pick the strongest reactions possible to elements in the story. But then you let it all go and you're in the moment and stuff happens. It surprises you and it's super strong; it's like you're living life in a slightly heightened way in the time between "action" and "cut."
Movies don't sit in the theaters for an entire summer like they did in 1982. Now you've got a two- or three-week shelf life so you need to have that awareness right off the bat. And in order to make a lot of people know about your movie, you need to be out there banging the drum and showing your stuff.
The only other animals that would be in the ballpark to be able to do it would be a gorilla, but it's not going to occur to a gorilla to strangle the life out of somebody. They might rip their head off, all right, but it wouldn't occur to a gorilla to just, I'm going to cut off your air.
I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.
To cure a batting slump, I took my bat to bed with me. I wanted to know my bat a little better.
We all consume Netflix and other streaming services in different ways. Sometimes, it's a movie you're really going to focus on; other times, it's background noise to something else, where you won't really pay attention.
People think unless you have loops and electronics and so on, you must be in your 50s. I quite like a lot of things that have loops and sequencers, but I couldn't really be bothered.
It's more fun in a way to do ensemble scenes, where you know your background, you know the scene, but you can't prepare because someone else is going to say something that is going to lead you off.
It's more fun in a way to do ensemble scenes, where you know your background, you know the scene, but you can't prepare because someone else is going to say something that is going to lead you off
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
When Taylor Swift was first beginning to really take off, a couple of guys I knew in her band called and offered me a job on her tour playing acoustic guitar and singing background vocals, and they thought I would be a really good fit for it.
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