Bing Crosby Quotes

You can make or break a picture in the dubbing room.

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

Yes, we record practically everything on Pro Tools.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

You just went right in and just recorded songs and listened them, and if there were any mistakes, then we would correct them and just went on... one take or two take.

Occasionally, when you do a take, and - what I kind of sort of like is asking for a PPB - Personal Play Back.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.

The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.

If there's a scene in which I need to cry or emote heavily, I just take care of it during the dubbing sessions.

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.

I like pre-production and post the best. I don't like shooting at all. I find it grueling and tough, but I love post and the whole process of seeing the film finally come together. You start ironing out all the rough spots, and the really bad bits you just throw away. So from day one of post to the last day, you see nothing but improvements.

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.

Pro Tools was invented to quicken the recording process.

In the theatre you can change things ever so slightly; it's an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'

In a play, you only get one chance, and you have to get it perfect. In a film, you can change and fix it whatever way you want, so really, there's a pretty big difference.

When I'm making records, I like it to be quite fast. Don't let the band learn it too well.

I'd much rather do one or two takes of one thing and then see how it goes.

Oh, my gosh, I've never seen a film unless, you know, if I have to go and do ADR, loop-loop. But I don't watch after. I'm too critical.

In the theater, you go from point A to point Z, building your performance as the evening progresses. You have to relinquish that control on a film.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

Recording is just a lengthy process, so to have to record before every professional video, that's where a real time drain comes in.

When you are shooting in a conventional way, you put nets around yourself. It's very hard to fall and hit the ground. You can always manipulate things to make it not embarrassing. If the scene is a little bit bad, you can polish it or even take it out. You can hide your mistakes.