How about I take you to my studio? Much less dangerous. Plus, I need a model and you could sit for me." "You want me to sit for a portrait?" I asked stunned. "Actually, at the moment I'm concentrating on full-length nudes, in the spirit of Modigliani...
I guess it was what my friend Phoolendu at the yoga studio would call kismet. That's like fate, but much more dramatic.
I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.
One of the amazing things about the Internet is that the content creators are the gatekeepers. We can think of an idea and execute it quickly, and we didn't have to pitch the idea to a major network or convince a studio head to sign-off on the concep...
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.
I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
I had two ambitions: One was to be in The Actors Studio, and the other was to walk into a bar where actors hung out, and everyone would know that I was a professional actor and I would be accepted.
Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.
We played all of the songs on the first Johnny Winter AND every day before we recorded them, so that when we got in the studio, it was totally easy, as we knew exactly what we wanted to do.
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.