Riki Lindhome Quotes

When you think of a movie, most people imagine a two hour finished, polished product. But to get to that two hour product, it can take hundreds or thousands of people many months of full time work.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?

If you would ask me what my ideal process is, I would say, long pre-production, long production and long post-production.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

Pre-production and post-production is something that I've never been exposed to. I was pleasantly surprised that you could accomplish a lot during pre-production.

With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there's no time to demo anything; you just do it.

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.

We rarely write in the studio. Everything's already completely arranged before we go in. That way, we can really focus on getting the recording right.

When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.

I have become a full-fledged producer. I spend a lot of time on pre-production work.

I treat recorded tapes the way a film director treats his rushes.

I did a good bit of episodic television directing, but directing a movie is so much more complicated.

When I'm finished with a film, I've been living with it, we've been dubbing it, recording to it, and so on. You walk out of the studio and, 'Ah, it's finished.'

The amount of coordination it takes to shoot a television show is mind-numbing. There are so many things that have to be exactly right to create the correct environment for a single shot, let alone a whole scene or the full episode.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

All I know is record, record, record, record.

I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.

I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.

Making a pilot is never a seamless process. If it is, it usually tanks.

If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.

I don't know much about making films or TV programs, but what's cool about being in the studio is that you have more time.

The R K banner has had this tradition to make good films, and good films always take a lot of time to complete because of the hassles involved.

When you make an album, you have a team of musicians you work with; when you're a director and you're creating a motion picture, it's a much bigger animal.

Actors play a small part in all the things that go into the making of a movie. I want to know about pre-production, post-production, shot divisions - everything.