A Quote by Warren Zevon
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
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But there's a thin line between songwriting and arranging. ... Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too. ... And I think it's safe to say that the single very impressive figure to me was Merle Haggard. ... Dylan can do no wrong. ... Glenn Gould was my hero. Glenn Gould was my idol. I loved him. ... I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
For me, someone like the Eddie Murphy character doesn't live anywhere; he lives on a stage and when he's not on the stage he's on a bus getting to the next stage. You don't really want to see him at home, or all those things you can do in the movie.
Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.
A stage play is beautiful only when it is seen as a stage play, just like you cannot get the same effect of a live Bharatanatyam performance in a recording.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
I also, since we have digital cameras, the blue screen composites are so good that I would rather shoot on a stage than there, especially the complicated sequences. The sun never sets in a studio stage.
I used to suffer from stage fright, which at times was an ordeal. I won't perform live again. I'm going to do some TV shows and videos but nothing else... I don't like to travel too much or do concerts. I'm more of a studio and home girl.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
I grew up doing stage work as a child and as a teenager, so the stage is my home where I feel most comfortable.
Mutineer is the first album of mine without a demo stage.
I started on the stage when I was 13 and I consider the stage my home.
Writing for the stage is different from writing for a book. You want to write in a way that an actor has material to work with, writing in the first person not the third person, and pulling out the dramatic elements in a bigger way for a stage presentation.
Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.
My roots are on the live performing stage, so while I enjoy making films and the other things that I do, when I get on stage, I feel at home; I'm comfortable.
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