Matthew Vaughn Quotes

I get very deep into the writing and recording process.

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?

Other than obvious errors like forgetting a line, often I can't see any difference between take one and take 20.

'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way.

I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.

I just spend my life studying the manufacture of sound and picture and my education, if you like, has come from what I've chosen to make sounds and pictures on.

U2 albums never get finished. They just get released.

I always ask for more takes. I like doing takes, so I'll do as many as I can.

It's true, most of my days are spent alone in a dark room! I don't really want anyone to see me trying and failing to nail the 40th take of a simple piano cue.

The way I perceive an album to sound and the way I put out mixtapes are two different energies. There's a different focus; there's a different sound.

I've finally figured out how to make a Rodney Crowell record, and that's let it be, leave the mistakes.

As a band, we always took a really long time to make records, so unfortunately, we got into that habit of, like, 'We'll work on it tomorrow.'

I view making records as a journey.

When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.

I never know when a record is finished until it's almost finished.

It's just hard when you've spent so much time on something, writing and recording, laying the vocals, getting the hook right, getting the beat right, making everything sound right - you spent a freaking week trying to make it sound perfect, and someone comes along and shoots it down.

Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.

I know how it feels to go into a studio to start a record, and eight weeks later it's finished. I know how an intense schedule feels.

With modern recording techniques, and living in the Pro Tools era, the process gets really drawn-out, and it can become painstaking.

There's a million things that come through when you put songs together and it's kind of difficult to pinpoint exactly what triggers it on every occasion. It's just like somebody writing a screenplay or something like that.

The recording process was basically me meeting with different writers, going into their studio, starting a song and just hanging out and chatting and getting to know how they work. Everybody has a different writing process so there was a lot of getting to know people, which can be fun and stressful at the same time.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you.

I labour over details and whether a song should be a straight pop song form or exploratory. This is the curse with doing things by yourself.

When I recorded for Columbia, I could usually do anything in one take...I would invariably want to use the first take because that would be the one that was spontaneous and fresh.