I do real paintings, you know. I’m a little messy in the studio, so I’m a bit of a danger. But I just adore it.
Terry said he had this new kid and his wife didn’t want to live in England. He wanted to tour. He hated being in the studio. Terry liked seeing various bars the world over and getting smashed out of his brain. He was a sort of latent Keith Moon.
I cannot tell you how many people, powerful people, come to my studio and they are in tears they are so moved by what they see.
I’m working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.
My studio is a laptop. Everybody I work with is the same. We make computer music, we’re the laptop generation.
That’s a different side of the brain going into the studio, as opposed to doing a live show, obviously.
Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.
I love good film, whether it’s an independent or studio film. The independent films, I think the good ones aren’t necessarily eccentric ones but they’re the more specific ones.
Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny’s house, so we could rehearse every day.
During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss’s name.
The studio didn’t ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
That’s what so great about making movies. It’s that you get to do stuff you never would be able to do in real life. You get to go to a recording studio, you get to go to Navy ships and fly all over the world for press. And it’s just a great job.
In 1995, I had been chosen to make a short presentation about the state of the TV business at a company retreat in Santa Barbara. At the time, I felt we were not real competitors in network television. The studio wasn’t prolific; we didn’t have much of a brand.
The role of a modern studio chief is much different to how the old studio chiefs used to operate. It’s not so much a position of power anymore, but a position of influence.
I mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.
I don’t typically work that late into the night in a studio, I’m more productive during the day.
Some groups get started too fast, and they’re in the studio before they’re ready to record.
I want to keep on working. The only way they’ll get me to quit is to carry me out of the studio feet first.
Every single time I step into the studio, I say, ‘Can I still do this? Do I still have it? Have I ever had it?’ I suppose there’s a good amount of self-loathing that goes into any form of artisanship.
As soon as I can afford a studio space, I’ll paint again.
I think it was probably down to the fact that we weren’t together personally as a band. We weren’t pulling in the same direction. I always feel if you’re having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.
I needed an opportunity to get back in the studio and get my recording chops back together.
I was put under contract. A major studio. I got nominated for an Academy Award. Isn’t that ridiculous? I mean, at the age of 18!
I always admired Walt’s optimism. He seemed to know the direction he was going to. When I was at the studio, I remember he kept driving all of us back down to a more fundamental level all the time.
It’s different playing in a studio than it is playing live, of course.
I am always locked in my design studio.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you’ve had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
I tour more than I need to, more than is good for you. But it’s my favorite part of music. I much prefer it to studio work.
I’ve been blessed in my career to be able to do studio and independent films.
It depends on the time of the year and who I’ve been talking to, I try to put people in the studio I like.
Honestly, I feel like I am a leading man, and it’s just going to take the right project, the female and the right studio. It’s got to all gel together, you know what I mean?
Coming from my bedroom in San Antonio to this big world and going from singing covers off my laptop to making music in this nice studio, making professional-sounding music – it’s just weird.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
The main thing in measuring integrity is someone’s motive and intent, not how many records they sell. Our intent in Ministry was never to be big. We just wanted to make enough money to live and to buy a studio, which we have done in Austin.
I’m right on the edge of getting another movie. It’s between me and a famous person. The studio said they’re thinking about going with somebody with a name. I said, ‘That’s great! Because I have one!’
I would like to see more Bollywood films! The more stylized musicals are a new trend in the U.S. We are beginning to make musicals again after a long break, practically since the days of the studio structure, so perhaps we can learn a few things from Bollywood about this fun style of film-making.
I’ve never had anyone put on a puppet show to convince me of anything. And I’ve done a lot of stuff. I don’t know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I’ll tell you, he wasn’t bad.
I had two ambitions: One was to be in The Actors Studio, and the other was to walk into a bar where actors hung out, and everyone would know that I was a professional actor and I would be accepted.
I’m never tired of going to the studio. I enjoy recording and documenting everything and trying new things.
Many rock musicians are excellent cooks, I’ve found, and those that are prefer to eat their own cooking in the studio. I encourage this behavior as I also enjoy the benefits of fresh food.
I go to the studio every day, but I don’t paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things.
There was absolutely no intention of splitting up. We had so many great ideas to use on the new album. John Paul Jones was incredible, coming to the studio each day with new instruments to play.
The film, even when we were making it in that budget range, which was really a coup – we got it made because we pitched it to the studio head, Joe Roth.
One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.
I’d do a demo recording by myself, layering instruments on top of one another, and while that’s fun, it doesn’t have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.
While I was with Procol Harum, the only time I’d see my guitar was either when I walked onstage or in the studio.
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’ve got my own studio, so I sit in my studio writing and if I get a great take, that’s the take.
I love being in the studio. If I’m at home, I will go to the studio pretty much every day anyway. It’s just something that I like to do.
I love to study the many things that grow below the corn stalks and bring them back to the studio to study the color. If one could only catch that true color of nature – the very thought of it drives me mad.
A studio allows me more freedom. You can create your own sort of reality which is actually more exciting than shooting on location. You can conjure up a complete atmosphere of escapism for the public.
A Hank Cochran song in the studio is spiritual. It’s like singing a hymn in a church.
I would have been content to just do studio work, making it on my own never really entered my mind.
The Buggles was much more a studio environment idea, which we never actually took on the road.
When I get in the studio the idea is just to work and bang out as many as I can.
Up until the time Turner Broadcasting bought Hanna-Barbera, it was essentially an independent studio whose planning cycle had to be nine months. You got a pickup in January, and you put it on the air in September. That’s been the cycle.
I don’t like getting up in the morning, getting in a car, driving on a freeway, and stopping at a gate where two guards are standing there, then walk into a studio that looks like a bunch of airplane hangars.
