Tara Strong Quotes

I had this fascination with four-track recorders when I was in high school.

You can talk to a fade but a hook won't listen.

I love recording music.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.

I love being in the studio.

It's true in most movies I don't use my own voice.

When Philip Glass asked me if I would be interested in doing a new recording of Jesus' Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.

I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.

After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.

It's the worst noise in the world: me analyzing the reasons for making a podcast about U2.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

Sound is the most important thing on any film, especially documentaries.

I prefer ensemble casts, but with games like 'Resident Evil 6,' where there's just so much dialogue and recording mo-cap, or with 'Resident Evil: Damnation,' where the story pace is already set by a previous set of mo-cap actors, it makes more sense to do it individually.

When I started my own podcast, I realized I definitely wanted to do characters.

The thing that's good about music-making software like the DAW-kinda systems is that they're all generally the same; the kind of interface is normally laid out in a similar way. Depending on the program, the sounds might be quite different, but they tend to all have a drum machine or synthesizer or a sampler.

You can do a lot of impromptu in dubbing. You can bring in different characters and different accents.

I never really work on just one CD - I'm recording, recording.

Recording should be fun.

I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.

I've never gone to school for recording. I wish I understood it more. School's been hard, learning things has been hard, because of the A.D.H.D., or dyslexia, or whatever you want to call it, but I know how to come up with stuff to bring it together.

You know, making an animated movie is such a lonesome thing. You mostly don't see your fellow actors or anything. You go into your booth, you record all your dialogue. It's very much an issue of trust. You leave it all up to the director.

I learned to have the patience to listen when people put forward their views, even if I think those views are wrong. You can't reach a just decision in a dispute unless you listen to both sides.

In a song you can kind of stage-manage everything so that it puts you in a good light. And once a song is recorded, it always performs well.

There is a very particular feeling I get when I have the camera in my hand, looking at an actor talk, knowing that what I’m shooting will end up on the screen.