Quotes of All Topics . Occasions . Authors
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.
Being on my own in a studio is really, really different than making music with the band. I can't say I necessarily enjoy it more, but it was just a new experience for me.
Since this was the first and only series I had ever produced, I was unaware of what the 'Normal' environment was for a studio. I tried to run it as I did in my SF studio.
In the studio, if they need to come down to the floor, things are a bit pushy, although it is easier for them to say things directly rather than through about five people.
Most dancers are less eccentric than driven. It starts young. When other kids are at the playground, we're in the studio, endlessly drilling jumps and adjusting our socks.
It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.
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.
When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.
My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.
The upside to smoking is that you get to be social. I was looking for a light when I bumped into Ben Harper's manager. A couple of days later, Ben and I were in the studio.
I feel like I'm stepping into a place of spiritual contemplation every time I enter a studio; it's always had a certain magic to me that has never worn off with familiarity.
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.
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?
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!
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.
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.
When it comes down to it, it's about who you know, and who's a fan. It's about whether you're the right age, whether you're hot or not, whether the studio is into you or not.
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.
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.
Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.
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.
The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
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.
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've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.
There's something really nice about writing something on Wednesday and watching it being performed live for a studio audience on Tuesday. You never really get that with novels.
No, if it was up to me every record would be brand new studio material but Atlantic records asked me to put out a full live record because my tour really did do well last year.
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.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
I use Maybelline's eye studio gel eyeliner and simply glide it onto the eyelids to shape the makeup. Then, I use brown eyeshadow to add more detail to make my eyes look deeper.
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 was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
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.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.
I'm loving being part of the 'Saturday Night Takeaway' family. I'm in my element chatting to random strangers and taking them back to the studio - in a helicopter of all things.
The photoshoot glitz and TV studio make-up isn't the real me. I spend most days at home in Bristol in jeans and a T-shirt running around after the kids or shopping in the Co-op.
I was in the studio so much, it was about the search for air in a metaphoric sense, and the breathing has more to do with travel for me, about the search musically for open air.
The highest admiration I have for my colleagues is not for someone in a studio in New York but for somebody on the ground in places that they've gone to fight to tell the story.
They studio were flabbergasted when they discovered how interested everybody was in 'those old people.' And now many upcoming projects feature older people; it's become a trend.
I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.
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.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
Every time me and A Boogie connect in the studio, it's just always good vibes. It's like me being with one of my brothers or me being with one of my cousins or my family members.
In the studio, we sometimes will add bass or some other stuff, like more layers of the same guitar part that's already there, but ultimately, the sound is about guitar and drums.
There are obviously issues in our industry. That starts at the top with studio execs who - not just men - don't believe a woman could handle a huge franchise or big action movie.
It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.