A Quote by Angus Young
In the studio, my brother and I have always used a lot of Marshall amps. We like to keep it pretty basic. We just use a couple of cabinets each - sometimes just one, if we think that's enough. We mainly go for 100-watt and 50-watt heads.
Related Quotes
To me, lighting really sets the mood for a room. A 40 watt bulb in a cheap lamp is the same as a 40 watt bulb in an expensive one.
I remember my mother and father arguing about light bulbs because my father thought he could save money by putting 25-watt bulbs instead of 60-watt bulbs and my mother was trying to explain to him that her children needed to learn to read so that they could go to college. He couldn't see that.
Monogamy is like a 40-watt bulb. It works, but its not enough.
Monogamy is like a 40-watt bulb. It works, but it's not enough.
We forget just how painfully dim the world was before electricity. A candle, a good candle, provides barely a hundredth of the illumination of a single 100 watt light bulb.
Whether a studio partner is 50/50 with us, or we do 100%, or we do 75% or 90% and for the most part they just distribute, whether that's Warner Brothers or now Universal, it's always a unique situation. Every movie is almost like a start up company.
I wanna go in the studio and just go back to the same amps and stuff I'm so comfortable with the sound of. Which I think is important to stay original.
It can get pretty hectic in New Orleans whenever I go shopping. So I'll fly to Houston, buy my groceries, and then come back - nobody cares there because I'm not J.J. Watt.
My male friends don't seem to have any feelings of intimidation that I am a 100-watt sex bomb standing next to them.
My best race is the 100 fly, but for the 50 you just have to go really fast one way so I really like it too. It's not the same strategy. For the 50 I just breathed once, so it's really different from the 100 fly.
I just read that one scene for Emily in New Moon, and it was pretty simple and straightforward. They liked that I did it really natural. They were like, "That was great!," even with what little I had. Sometimes just having those little scenes are a lot tougher than if you have five pages because you have to go from 0 to 100 in a snap.
I do weights a few times a week. Not a lot of heavy weights. I do it just to keep my muscle toned. With the martial arts, I am doing pretty basic stuff. I do some sparring. If I get a chance, I will go swimming or running in-between. I keep in pretty good shape between films.
Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.
It used to be with chocolate. I would put chocolate in my studio and say, "You know, Nat, there's this chocolate you can have if you get over there." And usually if I got over there, I would start writing. Sometimes I need get out of the house and go to a café and write. Sometimes I'll write with other friends to get myself going. And sometimes I just say "Ok, Nat, enough. Go one hour. Keep your hand going." I'll do whatever it takes.
This revolution, the information revoultion, is a revolution of free energy as well, but of another kind: free intellectual energy. It's very crude today, yet our Macintosh computer takes less power than a 100-watt bulb to run it and it can save you hours a day. What will it be able to do ten or 20 years from now, or 50 years from now?
Day and night I try, in my studio with its six two-thousand watt suns, balancing between the extremes of the impossible, to shake loose the real from the unreal, to give visions body, to penetrate into unknown transparencies.
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