One of us has 30 recordings of his vinyl hauls sitting unedited in a folder, some from January. They may be the purest thing he makes, made with little thought for who watches. That leads to artists who follow their own interest and make the audience catch up. Mac Miller left frat rap behind and kept changing until he died. One of us draws a line down the middle of Paul Thomas Anderson's films, with Boogie Nights and Magnolia on one side and The Master and Phantom Thread on the other.
Sponsorships can make one of us feel like a salesman, so we try to separate promotion from curation, with the bottle of Cutty Sark on our table as the test. It's there because we like it, and if someone paid $10,000 to swap in their own whiskey, it would stop being curation. Seasonality means letting a project rest and coming back to it, even a decade later, while the culture wants everything quick and writes off a new business that isn't making $500,000 a year within two years. We end on our current seasons. One of us calls his chaotic clarity: he knows exactly what he wants to make, and his studio is torn apart making it. The other's season sits between feeling that everything could fall apart and having, for once, some space to make what he wants. While he answers, the cameras die one by one.
Mentioned in this episode: Robert Zemeckis's Back to the Future, Mac Miller, the Beach Boys' Pet Sounds, Weezer's Pinkerton, Paul Thomas Anderson, Cutty Sark, Van Morrison's Astral Weeks.
-Ai
If you enjoyed this episode, please consider giving us a rating and/or a review. We appreciate and try to read all of them. Thanks for listening, and we'll see you in the next episode.
Ask Us a Question: https://studiosessionspod.com/#ask
Website: https://studiosessionspod.com
