At the end of the playback of the take of "Like A Rolling Stone", or actually during the thing, Bob Dylan said to the producer, turn up the organ. And Tom Wilson said, oh man, that guy's not an organ player. And Dylan said, I don't care, turn the organ up, and that's really how I became an organ player.— Al Kooper
Provocative Playback quotations
As so much music is listened to via MP3 download, many will never experience the joy of analog playback, and for them, I feel sorry. They are missing out.
Normally I can't watch playback. I can't watch anything because I know that it's so rough and there's going to be effects that are added, there's going to be sound effects, there's going to be so much stuff that happens between this point and that finished product that it just ruins the illusion for me.
I've been in enough movies to know that when you're on the set and you start shooting, you're looking at playback and you get a sense of what it's going to be like.
When I'm shooting a film, I don't look at playback.
I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
You always do that with movie musicals. You prerecord and then you lip-synch to playback.
I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.
When it comes to e-book playback devices and software, I have always thought that the emphasis on ergonomic concerns as a tipping point for the end-user population was misplaced.
MP3 players and flash memory devices are good for data storage and playback of music and digital talking books, but they offer little or nothing in the way of visual presentation of information and communication.
We didn't have the time to watch playback all the time so I depended on my team [All We Had].
I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
A big thing for me is trusting the director, so I don't need to watch playback.
I feel like the director is gonna tell me whether it's right or not.
I'm not one of those actors that goes to watch the playback, after every take.
I really don't like it, and I don't want to see it.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.
I think you just assume that your memory is just sort of a video playback of your experience, but it's nothing like that at all. It's a complete refabrication of an event and a lot of it is made up, because you're filling in spaces.
I don't look at rushes, or I don't go to the dailies.
I don't even really look at playback unless it's an action scene or a move that I need to do better, something like that.
To live (as I understand it) is to exist within a conception of time.
But to remember is to vacate the very notion of time. Every memory, no matter how remote its subject, takes place 'Now,' at the moment it's called to the mind. The more something is recalled, the more the brain has a chance to refine the original experience. Because every memory is a re-creation, not a playback.
People? People are chaotic quiddities living in one cave each.
They pass the hours in amorous grudge and playback and thought experiment. At the campfire they put the usual fraction on exhibit, and listen to their own silent gibber about how they're feeling and how they're going down. We've been there. Death helps. Death gives us something to do. Because it's a fulltime job looking the other way.