I sit around for ages waiting for inspiration. Then when I get an idea, I want to go with it and get something as quickly as possible. It's like catching a fly in a bottle. I'll play with drums for a bit, then the piano for a bit, play the guitar.
I can actually feel the interior body of a dancer. I have the ability to capture a split second... I want you to be hit with whatever the essence is of this sculpture.
I'm kinda a first take dude. The first time, cut that mic on, and the spirit is there, and what comes on the mic - I mean, even if I'm mumbling, I like to keep a lot of that initial thing that comes out. Cause that's the spirit.
When you first start singing something after you've written it, it has this sort of sparkle to it. And if you capture that, that's luck.
Most of those takes were one take. I made those records in three minutes. I didn't have time to get nervous or scared the first time I sang it. It was all 'live' and I enjoyed it so much.
I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.
When you're filming, if you can't capture the relationships and interplay, that magical thing that transpires between musicians during a performance, then you're not going to have a deeply interesting film. It's vital.
We didn't rehearse or play the songs to death before we recorded them, and that let us catch a freshness and energy level we've never really felt while making records.
I never liked dance photography; it's very flat, and dance photography in the studio looks very contrived.
I find with records, they become what they're going to become. They take on a power and a direction of their own. Part of making records is to honor that and not try to force it.
