If the interview was done in the studio, Frank McGee would automatically do it. But if I went out and got it, then the interview was mine. So I was considered a pushy cookie, because I would get the interview.
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who’s connected with it, the studio’s gone, the musicians are gone, and the only thing that’s left is this recording which was only about a three-minute period maybe 70 years ago.
I like being in a recording studio. I like watching a song go from the simplicity of the original music.
If you want a studio to back you, you want to be doing something that’s been done to death!
Independent film is film that has thought in it. There’s no independent thought in studio films. It’s collective thought.
We allow no geniuses around our Studio.
I’ve done a few studio films in the last few years where I feel like I’ve done good work, and then I only end up in two scenes. That’s been very disappointing.
If you’re a studio writer, the funny better be on the page.
I was in school with Dweezil Zappa, Frank Zappa’s son, and we had a band. Only in L.A. could stuff like that happen. We would hang out in Frank Zappa’s studio, and we released a single in 1982 on his label. I was 12, and that was the first recording experience I had. To top it off, Eddie Van Halen produced it.
I’m not one for walking the beaches humming a melody. I love the discipline of sitting in the studio, writing and listening. That is my domain.
If you can’t categorize a film for a studio, it’s really difficult for them to wrap their heads around it and give you the money.
For years it never occurred to me to question the judgment of those in charge at the studio.
When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
There really is a certain magic that happens when you’re in the studio. And it’s important in life to feel that magic: to feel that there is something greater moving all this along.
I have nothing against these big CGI movies, but there are not enough of the other ones – the ones with stories about character that have a beginning, a middle and an end. I said that to a couple of studio heads and they said, ‘That’s novel.’
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
I’ve had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don’t have to rent, I don’t get stuck with the bills, it’s all mine.
I was showing up at the studio all the time with no bag, being like, ‘I don’t want to have a backpack. I’ve had backpacks my whole life, and I’m a grown man now. I should have something better.’
Decline III, I funded myself, from the studio money. That, and I sold a lot of drugs. Kidding. Don’t print that.
When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.
Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there’s a handful now.
I’m hyperactive, and I went in the studio and I would just start making records, for no reason.
I have never had a studio, and I do not understand shutting oneself up in a room. To draw, yes; to paint, no.
I get so fed up with the making of an album taking over my life – it’s all I can think about or talk about. You find yourself in a rut and lacking inspiration and it’s hard to get out of that because I’m working alone in the studio.
Growing up, I was obsessed with Disney movies like ‘The Little Mermaid,’ ‘Aladdin’ and ‘Beauty And The Beast.’ I was always singing the songs from these movies, so to find myself in the studio with Alan Menken was an amazing experience. In fact, it was a dream come true.
I was 23 years old. It was a wild time. I was covering everything that blew up – blackouts, Studio 54, son of Sam killer, and all of that stuff.
Well, once I did ‘Grease,’ everyone was offering me studio pictures in a similar vein – you know, popcorn movie.
In the studio, I don’t do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it’s making a drawing or a sculpture, or casting plaster or whatever.
We’ll see if we ever do another Ministry gig again or not. I’m not saying yes or no yet. All I’m saying is I know there’s no new Ministry studio CDs coming ever again. I promise.
Black Sabbath was written on bass: I just walked into the studio and went, bah, bah, bah, and everybody joined in and we just did it.
If the night’s right and the people are right, of course I want to be out, I want to be socializing. I don’t want to be in my studio 24 hours a day for the whole rest of my life.
It wasn’t a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.
I just want people to hear the music the way it’s suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
And I like being able to go back and forth, and I don’t really care if it’s a small budget or big budget or studio or independent, as long as it’s got a story that’s compelling and there’s enough money to make the picture.
My parents weren’t actors or studio executives.
I met Fredo Santana three days before he passed. We were in the studio in Los Angeles, actually, listening to ‘Get Rich Or Die Tryin,’ and he’s a great human being.
To walk into a studio, for me, is just like walking onto a beach or something.
I acted in theater and I took film classes when I was 12 and just obsessed over it. I loved it and spent hours and hours in the film studio learning and watching.
I looked at films as a career from necessity but all I have really wanted is my home and children. The two things just do not work out together when one has to leave home at 5.30 am in the morning to go to the studio.
I like rock music because it’s always sonically fascinating. There’s never a method to what it needs to sound like. It’s just however that instrument comes out that day, whatever the humidity level was in the air, what studio you were at. All that makes that tone that you can’t re-create, so each song is like a person.
Success is created in studio apartments and garages, at kitchen tables, and in classrooms across the nation, not in government conference rooms in Washington.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
I don’t watch the movies I make, so I haven’t seen ‘Footloose’ since it came out. You see this young, hungry actor, it’s pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn’t want me.
Let me tell you something about Tunechi – about that boy. That boy comes to the studio every day and grind as if he doesn’t have a dollar in his pocket.
I have a rough idea when I walk into a studio though.
I’ve always been blessed with confidence. I am a glass-half-full person. My first movie, ‘Private Benjamin,’ got turned down by every studio until the very last one, but I just kept thinking, ‘Why are you people not seeing that this is a hit movie? What is wrong with you?’
Back in the day, I used to be in the studio recording 20 hours a day. And that was all of the time. I still record a lot of hours, but I don’t go as long as I used to.
I’m proudest of the fact that I’ve been able to make a few movies in the studio system that are slightly unorthodox and personal. But it’s never quite as easy as you dream that it could be.
I’m doing lots of interviews and stuff. I’m longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
I built a studio in L.A. for me and my brother to just write every single day. And it’s been great, man.
My job of being a musician in a recording studio has nothing to do with being a musician being on tour performing.
The Walt Disney Animation studio is the studio that Walt Disney started himself in 1923, and it’s never stopped and never closed its doors and never stopped making animation, and it keeps going as kind of the heart and soul of the company.
My studio’s always in my house. I want to wake up and be like, ‘You know I’m gonna make music today in my underwear. You know what, I’m gonna be in my pajamas. You know what, I’m actually just gonna stay inside for the next three days so I can make music.’
Our studio is kind of built into our home, so it’s a place you can ramble, and we can do a pretty good recording here. The band is really comfortable her.
When I was starting out, young actresses had the studio system to protect them. Now you have a host of sharks, from your agent to your publicist to your lawyer.
