If you do a film with a studio, agents step in, they start saying, ‘My actor has to get this amount of money’, and it becomes about deals.
I’m big on the studio. I like to stay in it 24/7.
I’ll audition for something and then the feedback has been, ‘The director wants you, the creative people want you, but the studio is saying no.’ It’s depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who’s been on the cover of magazines.
I’m always working. If I’m not in my studio I become quite nervous.
I lived with them in my studio in New York. And of course if I were doing that book today or even ten years, fifteen years later, I would have gone to where the wild ducks were and where I could study them – I would have gone to the country somewhere.
Wintertime for me is a time when I do a lot of my writing in the studio. It’s a time I enjoy. And it’s very reflective and a very calming time of the year. Throughout the year I gather a lot of musical inspirations, and this is where I bring them to the studio and see what will evolve musically.
With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I’m teeming with the drive to write.
I learned so much about playing and touring being on the road and in the studio with Jeff, but I’d always played a lot of gigs in Seattle even prior to joining the Fusion.
I have a studio at home, and do 3 hours a day that way.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
We’re gonna release a studio album probably a year from now and we’ve got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry’s piano player.
Atlantic has been great to me. They didn’t flinch when I told them I was self-producing, and nobody was popping their head in the studio.
I was amazed and upset by the looks I got just walking around the studio… It illuminates the ugliness and the beauty that exists within each of us, and that’s what this story represents to me.
With an independent film, you have a little more freedom, and you also have less money, so you’re sort of struggling to get it done, to get something that works. With a big studio, everything is there for you, and it’s easier.
If I had all the money in the world, I don’t think I’d want to be in the studio for longer.
Nine Inch Nails was born out of Cleveland, Ohio, with me and a friend in a studio working on demos at night. Got a record deal with a small, little label, went on tour in a van, and a couple years later found that somehow we touched a nerve, and that first record resonated with a bunch of people.
Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can’t just go in and do what you would do onstage. It reads differently.
I want to build a studio in my backyard. The interest rates are low now, so who knows.
I love working with different musicians in the studio, that’s a real joy working with someone for the first time.
The only thing I’d ever done with news was to read copy sitting at the microphone in the studio.
Then, as now, the Disney studio buzzed with activity. You had a strong impression of being at the center of something very exciting.
I think you get in trouble if you make experimental big studio films.
I’m a portrait photographer that’s used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots.
The moment I got a very big studio, everything took off.
I also have a recording studio that I use to produce bands.
Being in the studio is a really romantic time.
So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people’s tables that I would make my own.
I just go into the studio, look at the lyrics for the first time when I put them on the piano, and go. If I haven’t got it within 40 minutes, I give up. It’s never changed, the thrill has never gone, because I don’t know what I’m going to get next.
I want to make 20, 30, 50 studio records.
I made my entire first tape using Beats headphones – the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.
I’m most comfortable when I’m in the studio and music playing.
Oftentimes, when you have a huge studio film and you have big names attached, they like to keep attaching big names.
You don’t just go to the studio and say, ‘I’m going to write a hit.’ It becomes a hit when people like your compositions.
My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.
Berry Gordy turned his house into a studio and discovered over 30 acts in the city. And we’re famous all over the world.
Nothing’s more exciting than a day in a studio with a string section – or more ruinously expensive. So it’s good to feed that habit away from the band, especially if it means more experience for the next Radiohead string day.
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.
With ‘Believe’ bringing really big success for me outside of the U.K. for the first time, it meant I have been touring around the world and that led to a gap from the studio. I really feel like the gap has done me the world of good. Throughout that time I was able to collect songs that I really loved.
My taste changes radically all the time, and I listen to whatever feels good. Another thing is that I’m in the studio so much of the time, and I listen to so much loud, aggressive music for work, that for pleasure, I’ll listen to something else.
The real test of a musician is live performance. It’s one thing to spend a long time learning how to play well in the studio, but to do it in front of people is what keeps me coming back to touring.
I did a couple songs with this hip-hop guy named Tim Dark. He was working in the same studio I’ve been working in, he heard my music and he said, aw man, I’ve got to do something with you.
I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
I love music and hopefully I’ll be able to do something with it – I just have to find time to get into the studio and record a few songs.
I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.
Let me create great music, go in the studio, and possibly become a memory and a time stamp in people’s lives – and just give the best performances, because I know that’s all that really matters.
Playing live is my natural element. It’s too hard to relax in the studio because there are too many options. It’s just not as exciting.
It irritates me so much the way people talk about soaps because it is far more difficult working on a soap than it is on a big studio film.
I can’t get that live and I don’t have the time to take the tape, after I’ve finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
If a studio sees that a female can bring in audiences, then they’re going to make movies with that person.
Despite the fact the studio looks out of five windows onto a picture perfect view of sky, hills and wide open spaces, I work with my blinds firmly drawn, daylight filtered through their white canvas, a painterly northern light falling through two big skylights above my table, and nothing visible outside to distract me.
Walking into the studio making ‘Scared Hearts Club,’ it was important for us as artists to write a joyful record, but using joy as a weapon because joy is the best weapon against oppression; it’s the best weapon against depression.
They’re mostly done before we went into the studio, although I do like writing in the studio.
Madonna is her own Hollywood studio – a popelike mogul and divine superstar in one. She has a laserlike instinct for publicity, aided by her visual genius for still photography (which none of her legion of imitators has). Unfortunately, her public life has dissolved into a series of staged photo ops.
You always want to look your best at events like the Globes, Emmys, or Oscars. It’s a part of the business that I am not particularly comfortable with. I would prefer to turn up in a pair of jeans and an old shirt, but it’s all about image – the studio wants you to look your best.
I thought I was attractive when I shot ‘My Big Fat Greek Wedding.’ Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them. In other words, they labeled me with words like overweight, unattractive, unappealing.
