Little things can make such a big difference during recording.
'Game Of Thrones' was too big a canvas for a movie, but 'Dirty White Boys' is like a great old Western: there's so much compression, and it's so pressurized, it demands to be told in one sitting.
Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.
Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.
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I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.
Some of the songs I've made, I'm really disappointed in how I mixed them.
Visualizing information is a form of knowledge compression.
I hate Spanx.
The early '20s were like the waist of an hourglass. Lots of things were hurtling toward it and squeezing through it and then hurtling out the other side.
A 300pp novel can easily become a 200pp novel by printing with smaller type; a 100pp screenplay can potentially become a film of between 60-140 minutes in length; a 200pp stage play could be performed in anything from 30 minutes to four hours. For all these media, the script length is agnostic to the final work.
I love to be able to tell a whole story in three-and-half minutes.
The tighter you squeeze, the less you have.
I don't like being forced to reduce my thoughts to sound bites.
The only technical things I know are treble, volume and reverb, that's all.
I tell the story by feel most of the time, and I am not much given to labyrinthian digressions but seem to be naturally drawn to compression and pace, and the feelings come about on their own.
I'll tell you what pressure is. Pressure is a Messerschmitt up your arse. Playing cricket is not.
[Finishing schools] are nicely adapted machines for experimenting on the question, "Into how little space a human being can be crushed?" I have seen some souls so compressed that they would have fitted into a small thimble, and found room to move . . .
I dream of writing a book like LOVERS some day. It is so spare but so rich. It is history made intimate, and a masterpiece of compression.
How often one reads a contemporary full-length novel and thinks quietly, mutinously, that it would have worked out better at half or a third the length.
They say it only takes an instant to have a dream; a dream can be compressed into hardtack.
I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.
Short form media is reductionist by nature.
A gravitational wave is a very slight stretching in one dimension. If there's a gravitational wave traveling towards you, you get a stretch in the dimension that's perpendicular to the direction it's moving. And then perpendicular to that first stretch, you have a compression along the other dimension.
The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.
