James Patrick Keeler Quotes
We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.
Quotes to Explore
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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I grew up a Detroit Tigers fan, and now to be an owner of the Dodgers is amazing.
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We allow no geniuses around our Studio.
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I write in the studio.
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I love the studio audience. That's where I feel the most at home. You know right away if you're being funny or not.
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Nobody moves on purpose to Detroit.
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I would never have written 'Trainspotting' if it hadn't been for this album, 'Raw Power,' and 'Metallic K.O.'
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I wouldn't mind doing Broadway, but I am definitely trying to get a album out there first.
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I knew I had more in me than just standing up and having my picture taken... Being in the studio, I have to have an opinion.
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If I can put on my album in a car or on my headphones and listen to the whole thing and love it, that's what I'm going to be happy putting out there.
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I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.
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I'm a studio rat. I like going in there as producer.
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The studio people want me to do 'Good-bye Charlie' for the movies, but I'm not going to do it. I don't like the idea of playing a man in a woman's body - you know? It just doesn't seem feminine.
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A few years ago my goal was to try and get the goddamned album made, which put me in a real bad frame of mind.
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The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording studio, I would often lie down to nap and wake up with harmony parts fully formed in my mind, ready to be recorded. I think of music as dreaming in sound.
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I grew up in an age where I loved going and buying a physical record. Things that were digital and all that stuff, it wasn't around. So I loved going and buying an album and looking through the inserts and reading stuff and seeing pictures.
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When you're on your fifth album, you are going to be judged against all your previous work and expectations.
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I remember loving that album, ... Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.
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None of us older writers had gone through such a school. We are all self-taught. And, of course, there is always, in such a school, the danger of goose-stepping, uniformed ranks. But the Serapion Brethren have already, it seems to me, outgrown this danger. Each of them has his own individuality and his own handwriting. The common thing they have derived from the studio is the art of writing with ninety-proof ink, the art of eliminating everything that is superfluous, which is, perhaps, more difficult than writing.
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Downtown Detroit has more vacant buildings over 10 storeys than any city in the world.
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The chess player who develops the ability to play two dozen boards at a time will benefit from learning to compress his or her analysis into less time.
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We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.
