In Silicon Valley, if you spend a lot of time thinking about the obstacles, you'll talk yourself out of everything, because the more you look at it, the less logical something sounds, since no one has done it yet.
The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.
Our first record didn't come out on vinyl, so I think that might have had something to do with actually being in a position to make sure that it came out in vinyl this time. It sounds way better.
What I think about is what people spend their time on this planet doing. So No.1 is sleep, No.2 is work, and No.3 is sight, sound, and motion video consumption. Basically, four to five hours a day is what Americans spend consuming video.
It was indeed not very sound. However, those who had taken it, were in a fairer way of recovery than the others at the end of the fortnight, which was the length of time all these different courses were continued, except the oranges.
Directors didn't know what to do with me in college. I didn't really sound like a belter. I didn't look like a soprano. But in New York, I was in the right place at the right time, where my unusualness fit the bill.
And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.
I know it sounds silly, but it takes some time getting used to all the cameras in your face. I think it's like playing jazz. After I learn the rules, I can have fun and play a little bit.
I'm just trying to really take it one day at a time, because for me - and I know this sounds cliche, whatever - I achieved my ultimate goal, and nothing can really top that, you know?
At one time they've been the most important thing to me. So I can't hear our records on the radio, I can't stand it, because they sound so out of what everyone else is doing.
In a way, I pattern myself after all the bands I used to like as a kid. Every time they put out LPs, they had a whole new look and a new sound.
I never had any plans to become a producer when I was a kid. I wanted to be a DJ, like most other kids at the time. Then my mum bought me a Casio keyboard and I started to sample sounds that I liked.
I think when you get past your second album, it all becomes something of a routine. So you have to struggle against that, find a way of making what you do sound fresh and new each time.
Wallace: [as the BunVac 6000 labours] Sounds like a really big brute, this one. Give it some more welly.
Wikus Van De Merwe: Could you go a bit slower with the clicks there, it sounded like you said *three years*...
Cathy Whitaker: Oh, Raymond, Mrs. Whitaker sounds so formal! Won't you please... ask me to dance?
Andrew Largeman: They sent me away to boarding school. Sent me away makes it sound like they sent me to an asylum. There were no straps involved.
Mickey's Father: And you're gonna believe in Jesus Christ? Mickey: I know - sounds funny. But, I'm gonna give it a try.
Digging Bear: Stay. Corn Woman is to tired. Jack Crabb: She don't sound tired to me.
Billy Beane: [Suggesting a player for first base] Scott Hatteberg. Scout Barry: Who? Billy Beane: Exactly. The guy sounds like an Oakland A already.
Red: [narrating] His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound.
