I'm someone who has always been quite clear about what I like. In the studio, I'm not a control freak but I know what I want.
I wrote 'Actor' all on the computer. I didn't touch any instruments until I was in the studio. So while I had all these ornate arrangements, I didn't have any songs.
The material I did was lasting material. A lot of people thought I wasn't doing anything, but I was in the studio. The biggest factor is the material you choose. You hunt, you cut.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
I learned so much about playing and touring being on the road and in the studio with Jeff, but I'd always played a lot of gigs in Seattle even prior to joining the Fusion.
The key thing for me is to secure medium-term funding for the Roundhouse studios. It costs around £2m a year to run, but we want to grow it, and of course that will cost more.
I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.
There are so many venues in which stars are exposed today, that we just know much more and the studios don't have the control over stars like they used to, in the 30s, 40s, and 50s.
The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.
Every now and then, people will recognize me at restaurants or Universal Studios or something. I'll always take a picture with them if they want. I mean, that's what telling stories and acting for a living are for - for the people.
Now on the other hand, if someone is selling a product, opening a dance studio, or has some other aim to help themselves, then I tend to look askance at some of these strange stories from outer space.
I think the executives at the studios today realize that it's easier and safer to go the - to some known territory which is a remake of a successful film. It's less chancy than taking a fresh idea.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
I try to find the right director who won't compromise his or anyone else's integrity, and yet be political enough to give the studio what they want, yet put up a fight to maintain that integrity.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.
Nothing's more exciting than a day in a studio with a string section - or more ruinously expensive. So it's good to feed that habit away from the band, especially if it means more experience for the next Radiohead string day.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
I never saw myself so much as an actor. I wanted to be a cartoonist like Charles M. Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
