Which is a real heads-up about what Hillary's [Clinton] agenda is. We've seen Hillary flip-flop, but she's had a pretty consistent track record. Which is that she has been a very good friend to the banks, received enormous support from them.
I was against the war in Iraq.The record shows that I'm right. When I did an interview with Howard Stern.
We sing a lot of the soundtrack in this film [Swiss Army Man] - me and Paul Dano - and on the last day of filming we had to just get into the back of our sound mixer's van and record a really crappy, rough version of the singing then. For some reason that was one of the most fun days.
In an election like this one [in 2016], not only are voters dissatisfied, but where the foundations of our economy, our democracy, our ecosystem, and international war and peace are really crumbling and are really at grave risk for failing in many ways, we need desperately to have an honest public conversation about both the track record of where we've been, what are the critical problems we are facing and what it will take to solve them.
And "all the above" [what President Barack Obama calls his policy of promoting all forms of domestic energy], compared to "drill, baby, drill," if you actually look at the track record, we've massively escalated the emissions of methane and carbon dioxide.
We're looking at catastrophic impacts in our lifetime, not only that every month now we're setting a new World Almanac record.
We call for a new kind of offensive in the Middle East because our current approach has a track record and it's not a good one.
I've worked with 10 presidents. It's a record. I worked with Republicans and Democrats. All of them when it came to Israel were, movingly, friendly. From Truman, who was the first to recognize Israel 11 minutes after the U.N. resolution, to Obama. When it comes to the major issues of security and strategy, we are together, completely.
I deal with everything in my life in music - everything that ever happens to me just finds its way into a song or onto a record. I need it. It's like my life jacket. If I didn't have that way of processing those feelings, I'd probably be a murderer.
Once you feel that you've learned some skills and you know how to make records, the next thing is, "Do we ever get to make one that people will really like?" Because then we'll have something to do.
You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?
Most folks, when they see movies or hear records, need something that they find pulls them in, draws them in, and appeals to them beyond just the notes. For a record to be memorable and great, it has to have something of this quality. Exactly what that is, I don't know, but I think it has something to do with an atmosphere, an environment that is appealing and attractive. And the people that inhabit this environment have... almost a message for the rest of the world.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
I'm much more into someone who is telling stories than somebody who is writing a record about their breakup. It's just more interesting for me.
I just like writing lyrics. I find a little satisfaction in performing live, making records. But primarily, I just try to write every day.
As it turns out, it's really expensive to make movies, much more than records.
Speaking of failure, when we do our question and answer period, you look at what's happened with our Navy in terms of the number of ships and our armed forces generally, how they're so depleted, how they're at almost record-setting lows and in some cases absolute record-setting lows. It is very, very unfortunate and very, very dangerous for our country.
I struggled more with my identity. Let's be honest - early on in my first records, I didn't have the power to tell David Foster or other producers what to do.
As I look back, I understand what [the record company] was getting at. They were trying to market a record and make it as commercially acceptable as possible. It hurt me and my credibility with critics.
I got a new 4-track cassette recorder a year or so after high school. For a while I would just stare at it thinking, how am I going to do this if I don't play guitar or keyboards? How am I going to write and record a song if I don't know how to play any instruments? I mean, I played the violin, but I didn't know anything about how to work a 4-track.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
Anybody who's putting out records is probably not making money at it.
We have a few artists that seem to sell enough to pay back what it costs to make a record.
I think all musicians and producers, they know the real goal is to come up with a record that is entertaining and not boring, that's the goal. I think if everyone agrees that that's the goal then it doesn't matter who's the band and it doesn't matter who's the producer. It just means that that you try to realise the ambition no matter what the situation is or who the people are.
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