I was sitting in the looping studio late one night, and I had this epiphany that they weren't paying me for my acting, for God's sake, but to own me. And from then on, it became clear and an awful lot easier to deal with.
As an actor, you've worked very hard, and you've been doing this for 20-some years, and William Morris was never interested - or any studio, either - in your company or as an actor, and then 'God's Not Dead' happens, and now everyone calls you.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.
I think it's natural for a creative to be sensitive. If I'm in the studio and I write something, I think it's the greatest thing in the world; it's like my baby. I just made something out of thin air that exists now in a tangible form. It's the bigge...
Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life sy...
I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very begin...
I lived a fairly average, anonymous small-town life till I got the idea to do Nine Inch Nails. Then I locked myself in a studio for a year, and then got off the tour bus two years after that, and I didn't know who I'd turned into.
I love to study the many things that grow below the corn stalks and bring them back to the studio to study the color. If one could only catch that true color of nature - the very thought of it drives me mad.
I love getting into a studio with a bunch of friends. When the day's done, we've made something. We recognize that we're from different walks of the music industry, and there's no reason we shouldn't be collaborating. That's what I'm trying to create...
I find I'm not one of these composers that are, you know, walking along a beach or walking on the mountainside in County Donegal that's, you know, 'Oh, a melody.' It's more a matter of eventually taking that moment with me to the studio, and it begin...
On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.
In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.
The nice thing about building up your own studio is if Hollywood decides to hate faith-based films, it doesn't matter to us. We have an audience and continue to serve that audience.
I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.
I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.
If the interview was done in the studio, Frank McGee would automatically do it. But if I went out and got it, then the interview was mine. So I was considered a pushy cookie, because I would get the interview.
Sometimes there's a sense of closing yourself off on a shoot, and I try not to do that. Sometimes you have to, like when you're in a studio and you're doing fashion shooting, but I don't even do it then.
We were at Pye Studios for half an hour so we set the gear up and we did two tracks. A month later we found out it was selling thirty thousand copies a day.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.
