A Quote by Fred Armisen
Wayne Coyne has put out Flaming Lips records in gummy bear skulls and all these different kinds of packaging that's really, really inventive. And that's what you should always do.
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One of the first albums I can remember hearing was a Supertramp best of, with mostly 'Breakfast in America' songs on it. It's kind of the same thing as the Flaming Lips, where there are these really melancholy lyrics and melodies, yet it's extremely uplifting. They're like a nonfuturistic version of the Flaming Lips.
It's really hard to be an artist and put out records and put your heart out there. It's such a gamble, and you're often spending so much time fighting for something that you really believe in and feeling like it's not really getting anywhere. It definitely can try your patience.
You can say that Wayne Coyne sounds like Neil Young.
So it sort of dawned on me that you have to build into your work the fact that it's going to be shown in different kinds of places and different kinds of light. And the fact that the surroundings and where you're going to be shown is always changing, so that should really not affect the meaning of the work. It should be part of what the work is about.
I find Spike Jones' movies to be really very inventive and funny, but they're really sad and touching and really key into the different facets of the human experience.
I think for acting on stage and in film, one informs the other. Obviously, they require really different kinds of discipline and really different kinds of work. It's more along the same continuum, for me.
I run an independent company, Knockout Entertainment. We've always come out with records that had a concept that impacted really, really, really hard.
I never have really become accustomed to the 'John.' Nobody ever really calls me John... I've always been Duke or Marion or John Wayne. It's a name that goes well together, and it's like one word - John Wayne.
I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.
I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.
I love my bandmates, and they're my friends, and even though we had fun and got to tour and I got to play the drums a lot, which I'll always appreciate, we had a really rough time. We toured and tried to get people to come to our shows and put out records, and we really struggled.
Most of the time you should use reason, there is no doubt about that because gut often makes us susceptible to lots of different biases, particularly if what you're deciding is something that you really, that expertise can be brought to bear on it, there is a way in which you can align the odds, so then you should really use reason.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I really was thinking a lot about the energy on the first couple records that we ever put out and how young and excited we were. I just really wanted to make it more fun than anything.
I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
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