Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!
I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.
I've never been on that side - being reviled by hundreds of thousands of people online. I guess that experience was really terrible, but it's just added another stitch to the tapestry of my character, so I've seen life from both sides now. I've been beloved and reviled.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
My dad died right after performing at the Friars' roast for Lucille Ball and Desi Arnaz. I have that tape somewhere. There's still a lot of good jokes in there. I mean, that was 1958.
We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.
Preparation is very important. The pitcher is going to do his job and prepare for you, so you as a hitter must do the same. I always watch videotape of pitchers before the game and even sometimes during.
I'm addicted to picking my nose. In a world of red tape and bureaucracy, where it takes forever to buy a house or get a cell-phone plan going, it's so instant to just stick your finger up there and go for something your own body produces.
We've got a very poor record on unnecessary red tape; extra cost to business; people being asked to do things they don't need to; over the top regulation, misinterpreted regulation, poor guidelines.
My dad is huge on music, so he always made tapes from his friends. That's how I got into music.
