What I like about it is that I'm not somebody who's in movies. I'm a guy who's not very good going around the track with a bunch of guys who are a hell of a lot better.
You want to track Hollywood careers, look in the real estate section. You see a guy buy a house that costs $6 million, and you can literally start counting the days until he starts doing crappy movies.
Music is the soundtrack to the crappy movie that is my life.
You can't have a laugh track that sort of tells the audience when to laugh and, you know, it's difficult to find those moments.
Music scores your life. You interact with it. It becomes the soundtrack to that one summer with that one girl.
For the nerd in me, I prefer full quality digital files as they give a truer representation of the source mix, the studio in fact. From these files I can quite often tell what kind of set up made the tracks. For the music lover in me, vinyl is more woosey, richer, more alive, more real, more imperfect and somehow becoming more like life itself. But I don't prefer it per se. The mastering engineer in me always loves to hear it as it was made.
When you hear tracks everybody immediately thinks that nobody is really playing or singing. That's not the case at all.
The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.
Both creatively and organizationally, being medicated has helped me immensely. My career did not start until I was medicated. And then I can track - the years I was off medication, things dipped. And the years I went back on medication is when things started to get good for me again career wise. It is 100 percent in my case undeniable that being medicated helped my creativity.
We'd be recording and I'd go down to Greenpoint where Rostam was living and track stuff... It was a busy time. I felt like in general, I was just super psyched with the prospect of getting to be a musician, that it became a thing that I would think about more than I would think about my studies and stuff like that. I still did fine, but it was an interesting time in my life.
I can't do things by myself. I need a motivation, and the motivation is always the director's. I find my freedom inside other people's barriers. It's easier for me to find myself inside someone else's tracks.
My agent is based in New York. And due to a historic accident, my publishing track is primarily American - I'm sold into the UK almost as a foreign import! So I'm quite out of touch with what's going on in UK publishing.
I don't keep anything on paper (except within an actual novel in progress, at which point I need a file to keep track of plot threads, characters, and so on).
Chyerti—that’s us, demons and devils, small and big—are compulsive. We obsess. It’s our nature. We turn on a track, around and around; we march in step; we act out the same tales, over and over, the same sets of motions, while time piles up like yarn under a wheel. We like patterns. They’re comforting. Sometimes little things change—a car instead of a house, a girl not named Yelena. But it’s no different, not really. Not ever.
Music from my iPod was setting my life to a dramatic soundtrack that only I could hear.
I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.
The cool thing about having a book is that it takes on its own life. Once it's in the world, you can't follow it. You'd have to have a pretty fantastic surveillance system to track its migration.
I love making music, I love composing on my computer, just making crazy ethnic slack orchestral tracks, that's one of my fun things.
Now, what does a vampire do with a computer? Keep track of investments? Send e-mail to other vampires as you all plot to take over the world?” “I spend a lot of time on Wikipedia making corrections to the entries of historical figures I’ve known.” I blinked at him. “Really?” “No, Kitty. That was a joke.
A boardroom is a collection of individuals, and individuals have varying motives, egos, agendas and qualifications. Sometimes the dynamics can go off track.
Unlike Hillary Clinton, I am not afraid to answer questions about my track record or my accomplishments or my principles.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
I knew when the ball was going out (over the Green Monster). It was something I worked into the decoy, but it used to tick the pitchers off. Bill Monbouquette used to say, 'Can't you at least make it look like you can catch it?' Meanwhile, the ball would be on its way over the fence to a spot three-quarters of the way out to the railroad tracks.
I enjoy my life, I love track, I'm set for life financially.
At the end of the day, if you're a professional athlete in track and field you are the CEO of your company.
