I was never a part of the Actor’s Studio, because two friends of mine started it in 1947 and by that time I’d gone to California.
Imagine the first time you are about to rap in a studio and you find yourself in a booth with Redman and KRS!
I don’t think that Simon and Garfunkel as a live act compares to Simon and Garfunkel as a studio act.
In America there’s no rights for the artist, so whatever films I’ve made kind of belong to the studio.
I think taking design out of the studio and really having a relationship with the people that you’re making it for really convinced me of how powerful a thing design is. It’s not just an aesthetic decoration.
Living and working for four decades in a Bologna apartment and studio he shared with his unwed sisters, Morandi painted little but bottles, boxes, jars, and vases. Yet like that of Chardin and the underappreciated William Nicholson, Morandi’s work seems to slow down time and show you things you’ve never seen before.
You can’t get tired in the studio. It’s really tough. But you just gotta keep on going.
Whenever I’m home, I haven’t got any makeup on. But even in the studio, before I do vocals, I put makeup on.
We played all of the songs on the first Johnny Winter AND every day before we recorded them, so that when we got in the studio, it was totally easy, as we knew exactly what we wanted to do.
My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.
I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the ‘Dangal’ offer came, and I was busy with the auditions.
If we were truly in the studio making a record, it would have been more time consuming, and certainly I would have been more involved in the writing process.
I am always locked in my design studio.
So it helped me to just let go of all my tensions and feelings about that world and say ‘OK, this is for my fans in Japan. They’ll be nice and get into it and have fun.’ And it was the first record I made at my home studio.
I have a more personal insight into the importance of core strength because my wife Louise runs a Pilates studio in London. I have enjoyed getting into Pilates. I am not the most supple but I enjoy Pilates more than yoga.
I’m getting in the studio with everybody I’ve always wanted to work with. That’s the amazing thing.
The studio scene in California is sort of ridiculous anyway.
Obviously I don’t have a stylist for everyday stuff, but for a premiere or something usually the studio will hire someone.
I’ve tried a few times to depart from what I know I can do, and I’ve failed. I’ve tried to work outside the studio, but it introduces too many variables that I can’t control. I’m really quite narrow, you know.
When I’m in the studio, I don’t finish the song and say, ‘That’s going to be a big ringtone.’
I try to devote my afternoons to making music in my home studio, but it’s a lot more fun hanging out with musicians and friends, and trying subtly to influence a band than making your own stuff.
I was under contract to Paramount. They wanted to make me into somebody which I was not. So I got so scared and rebelled, so they threw me out of the studio.
When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
My studio was lo-fi by necessity; I was fourteen with no reliable income.
Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.
I am a night painter, so when I come into the studio the next morning the delirium is over.
I wouldn’t go into the studio if I didn’t have a band who’s ready, willing, and able.
The Stones were always exemplary of one of the best of all rock qualities: tightness. They have always been economical, the opposite of ornamental. Having a very clear idea of what they wanted to say they could go into a studio and make it all up on a three minute cut.
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can’t play, so sometimes the palette feels too big.
I like the gritty parts of fashion, the design, the studio, the pictures.
I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.
The mini-Moog was conceived originally as a session musician’s axe, something a guy could carry to the studio, do a gig and walk out.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.
Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.
I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.
We still have that same burn, to get that same kind of laughs. So whether the studio wants us to or not, we’re going to do it. The money is just a byproduct of coming out with good stuff. Our whole thing is building that rapport with the audience.
I like touring, I like being in the studio, a bit of both. I like to have a bit of time at home as well.
Whenever I have time, I try to get in the studio and write, whether it’s for me or other artists or my catalog of music. It’s definitely one of my favorite parts of the music industry.
I hate going out for lunch during a workday because it slows down my pace and ruins my rhythm. I prefer to eat at my desk. Actually, I wander around the design studio with a plate in my hand as I dine on, for example, salmon sashimi and a salad of tomatoes and mozzarella. I often have a bit of dark chocolate after lunch.
I wake up every morning and I feel like I’m juggling glass balls. I live in Los Angeles, my business is run out of London, and most evenings I’m cuddled up in front of Skype, in my dressing gown, speaking with my studio in London. I travel a lot, my team travel a lot, but I wouldn’t have it any other way.
The big studio era is from the coming of sound until 1950, until I came in… I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
Just when I think I hate fashion, I hate clothes, I’m seized by this crazy thing that I have to do. I have this little studio now where I just draw. I can be in the room for three days and not even look up.
I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.
I’m so hard on myself that when I’m in the studio, I’ll write 10 songs and only use one. So those nine songs that are left over, I always think, ‘Where could these go? Who could they be for?’
When you get into the studio, you never know who is going to fit your energy.
My dad and my uncles used to always be in the studio at my house.
I danced a little as a kid here in Canada: in Ottawa at the Elite Dance Studio and at the Top Hat Dance School in Cornwall where I grew up. So I had some experience of having to learn routines.
I’m a studio rat. I like going in there as producer.
No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama. Fight Club is a studio pic, and I’ve done very few of those. I’ve got a feeling it’s going to change things for me.
I have mugs of hot water every morning because the studio is cold, and also because it makes my throat sound clearer.
I regret the passing of the studio system. I was very appreciative of it because I had no talent.
All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that’s it.
Sometimes I get ideas for lyrics in anyplace, but I work a lot in the studio. So I collect little bits of lyrics. I go through the box of lyrics I have and see if something fits.
So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.
Furnishing a home is no different than going into the studio and making music. You want to make sure you’ve pared down all the extra details so that in the end, every stitch has a context uniquely yours.
A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
