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One of the challenges obviously with doing an accent from a time period early in history is that there aren't recordings. You would never really get the opportunity to hear exactly what you were shooting for.

Pro Tools was invented to quicken the recording process.

From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.

Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

It was very important to establish a sound, so that people heard a record on the radio and knew immediately that it was you.

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

One of the ideas behind doing this acoustic record is that I didn't want to have to produce it by committee.

If you're in a motion-capture studio, you have spherical, reflective markers, which are picked up by cameras that emit infrared - it reflects it, and then the cameras pick up the data.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.