I knew de Kooning and I went to his studio so I knew about de Kooning’s work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
There is some sampling on my records and a lot of what I call replays, where I’d have musicians come in the studio and replay the sample from the original record. But mainly, we’d come up with our own music.
When you go into the studio or get up on the stage with people who have more experience or knowledge, you learn.
The studio thought I was crazy to perform all of my own fencing stunts, but I loved it.
Because I work so much, people think that I have a team writing for me, but that’s not why I chose to write music for films. I chose to write music because I like to write music. So every single note that comes out of my studio is written by me, and I wouldn’t be able to do two movies at the same time.
When you see people who are really good at game shows, the one common attribute is a cool head under pressure: an ability to perform as well in the studio, surrounded by lights and noise, as you do on your couch.
My family is full of musicians, and a couple of times a year we get together and jam at my cousin’s studio. We improvise and have a great time.
I’m in the studio for hours in that tiny little box, and really, the performing part is what I’m most excited about.
I was an original member of the Actors’ Studio.
I thought I’d do everything on four-track, and then I’ll record every instrument myself in a studio, and then I’ll have a solo album released by spring.
Just writing and being in the studio was like therapy for me.
Social media is a double-edged sword. I’ve gotten in trouble for announcing, too soon, something that the network or the studio wanted to do, and it steals some of the thunder, so to speak.
I just go in the studio and write on the spot and see what comes out.
In L.A., unless you’ve just won an Oscar or you’re Mr. Studio Head, no one talks to you. Even at parties.
I spend at least a couple hours a day in the studio, every day, whether I’m dancing or not.
By the mid-’60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
I’m never gonna go into a studio and work for a whole year non-stop. Just every day on my own in the studio working, it’s just too damn hard.
I didn’t go to school for illustration. I did larger pieces, mostly drawings and paintings, and minored in video, but when I moved to N.Y.C., I didn’t have a studio space anymore and downsized to my desk and started illustrating. I started a greeting card company and sold cards all over the city.
You always try to work for your audience, to entertain them, but that being said, obviously, within the studio system you feel the sense of responsibility to the bank.
But it’s like the horror of being in a studio with a blank canvas. I used to always run out of ideas because there are so many possibilities and I would just think, well what am I going to do now!
I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.
Yes, the first job I had at the studio was Snow White. I don’t like the term particularly, but I got stuck with the human characters. They just didn’t have that many people who could draw humans.
‘Family Ties’ was a very successful situation comedy. And, in almost every respect, it functioned on a day to day basis like a well-run, well conditioned basketball team. The show was performed live each week in front of a studio audience on Friday night.
Man, I wanna be there for everybody. I wanna make everybody happy, and I can’t… That’s why I stay in the studio.
I just play intuitively and work the same way in the studio. I don’t have any magical effects or anything that helps me to get my particular sound.
I wish I could make music about politics. I feel like it’s such an art and a talent that I admire tremendously, but when I step into the studio, I step out of the real world, and it’s therapeutic.
Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn’t happened to us.
The studio is just a labor. Getting on stage is the reward.
I just want to be in the studio. When you’ve got all the gear you want in your own house, it’s difficult to go out and do something else, you know?
I went from a guy, kind of a working actor, a supporting player, to magazine covers and being offered the studio pictures really quickly. Nobody was comfortable with it. I wasn’t really comfortable with it.
We’re actually thinking about distributing ‘Moon Over Broadway’ on-line. It’s tempting, because when you go to a major studio, it’s sort of like a farm, you know? They make all the money, since it’s kind of a buyer’s market.
When I’m in the studio, there are no boundaries.
It really does take a lot of time to make records, to be in the studio and do all that stuff.
I thank my mum, dad, and home for keeping me in touch with my own country and my own land. I can be in the studio with Snoop Dogg or singing for Oprah, but I’m still me.
I’ve been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn’t it?
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time.
Tame Impala’s music revisits a time when guitar effects and studio tricks were music’s newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.
Music itself is a great source of relaxation. Parts of it anyway. Working in the studio, that’s not relaxing, but playing an instrument that I don’t know how to play is unbelievably relaxing, because I don’t have any pressure on me.
I hate formal stuff. I love looking like a doll and all that stuff and playing dress up, but when I’m home, sweat pants, t-shirt. When I’m in the studio, sweat pants, t-shirt.
I really feel there’s no limitation on what this band can do in the studio or on the stage. That’s an empowering feeling – that we can bring a song to life.
I suspect that a lot of studio executives still think of me as ‘what’s-his-name’.
If the studio wants to spend money on making your movie better, let them.
There wasn’t an episode of ‘Will & Grace’ that didn’t begin with my voice saying, ‘Will & Grace’ is taped before a live studio audience.
Bantam Press. And they commissioned me to write it. And when that was completed, they sold it to Harper and Row. And then I put it out to every movie studio in town. And they all turned it down.
The studio that we mix in is still in Chicago.
My influences change all the time; they have to remain current, because they’re the things that capture your imagination and make you want to go into the studio.
But after this last year and dealing with the studio, the rest of us are closer than we’ve ever been.
I find I’m not one of these composers that are, you know, walking along a beach or walking on the mountainside in County Donegal that’s, you know, ‘Oh, a melody.’ It’s more a matter of eventually taking that moment with me to the studio, and it begins to evolve.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
Sometimes there’s a sense of closing yourself off on a shoot, and I try not to do that. Sometimes you have to, like when you’re in a studio and you’re doing fashion shooting, but I don’t even do it then.
If you come every day or every month to my studio, you won’t see that much change, but if you come once a year, you’ll see big new categories opened up.
I wrote two novels about a yoga studio in Los Angeles published by Penguin under the pen name Rain Mitchell.
I’m a serious student of music, a perfectionist in the studio, and I take the arrangement and production of it very seriously, down to the mixing and mastering even. But at the same time I’m having so much fun with it. I try not to take myself so seriously.
When you’re on tour, you’re trying to get the crowd involved and really sing and perform to them. When you’re going to write and be in the studio, it’s like, ‘Now I have to think about me.’ That’s the mind-set you have to work with.
Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.
