Music itself is a great source of relaxation. Parts of it anyway. Working in the studio, that's not relaxing, but playing an instrument that I don't know how to play is unbelievably relaxing, because I don't have any pressure on me.
There was absolutely no intention of splitting up. We had so many great ideas to use on the new album. John Paul Jones was incredible, coming to the studio each day with new instruments to play.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.
We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
I'm not going to go to a producer that's going to take me in a studio and charge me my whole budget and give me a fake head nod. I'm just trying to make good music. I appreciate everybody that's supporting me.
We shouldn't be afraid to fail- if we are not failing we are not pushing. 80% of the stuff in the studio is not going to work. If something is not good enough, stop doing it.
I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.
All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.
My studio, nicknamed 'Funny Farm,' is in a hidden location. It's very private. Not only do I create my photography there, but it is also where I write my books and create music.
After being in a studio, working on games stuff, I'm like, 'Oh my God, I wish I could just sit in my room for a week and listen to music and draw by myself.'
I have spent probably years of time waiting in studio lounges - waiting on a mix, waiting on my time to sing, waiting on, waiting on, waiting on. That's just the nature of life.
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury.
If the night's right and the people are right, of course I want to be out, I want to be socializing. I don't want to be in my studio 24 hours a day for the whole rest of my life.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.
I love the new technology. New things give you a reason to want to go to the studio. New challenges mean you have to keep up, you know?
