Quotes of All Topics . Occasions . Authors
I've never stopped writing, I've never slowed down just because I don't have something on the radio or a No. 1 or No. 2 record. That doesn't mean that I'm not in the studio planting seeds.
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.
For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
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.
We played all of the songs on the first Johnny Winter AND every day before we recorded them, so that when we got in the studio, it was totally easy, as we knew exactly what we wanted to do.
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 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.
I feel like in our society there is definitely still a lot of underlying sexism. It's funny how many guys are surprised when you pick up an instrument in the studio, or write your own songs.
I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.
Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.
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'd just recorded it in Mariah Carey's studio. THey thought the song was perfect for Nina, because she's so shy, so it was nice to have that connection with Nina in the song. It was special.
I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'
Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
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 like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
I met Icona Pop by chance because we were both recording at the same studio. I was a fan so when I heard they were in the next room, I went to say hi. Next thing I knew, they were on two songs.
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.
I prayed to God for help and I put myself in a recovery house called Studio 12. It was for people in the business and you didn't have to have any money to go, which was good because I was broke.
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.
Once we get them in the studio, you interview a person the same way you would interview another. You ask them a question. You let them answer. You try to listen closely and then ask a follow-up.
The studio rented a house for my wife in Los Angeles under a phony name to keep reporters away. Whenever I wanted to visit her and my children, I would have to sneak in the back door after dark.
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.'
I only made two studio movies, that was a long time ago and obviously I removed myself. I think some of that is geographical. I live in New York and I want to work there, it's as simple as that.
I try to devote my afternoons to making music in my home studio, but it's a lot more fun hanging out with musicians and friends, and trying subtly to influence a band than making your own stuff.
I want to stay in my home studio because I've pretty much done everything sitting next to the mic by myself as far as engineering, but No Excuses studio in L.A. has become my new favorite place.
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.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.
For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.
The first time I got into the studio, when I was 17, 18, I got to work with people who were some part of the Cheiron thing, who did all the early Britney Spears stuff, all the early 'NSync stuff.
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!
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
Dr. Dre, my oldest brother, he paved the way for me and Snoop to get a chance to get into the studio. I asked him to show me how to work the MPC-60... I was about maybe 17, 18, right around there.
I have got an anthology album out. The American version has got the same mixes but the European version, I remixed them in the studio and added a couple of things that I have always wanted to add.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
No I.D. is actually married to my cousin, and my cousin is my manager. So I met him when she met him many years ago. I was in the studio and he hooked me up with a bunch of producers that he knew.
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.
I would love to do a big studio movie, just because they're going to put the money into distributing it. A lot of times you do these little movies, you love them and they never get seen by anyone.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
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.
I held down as many jobs as I could find, from being a waiter to working at a yoga studio and as a ticket-taker at a small theater company - anything that would allow me to go out and do auditions.
And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
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.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal.
I think I'm the only singer who doesn't have a temper. The only time I got angry was at a music studio when I was made to wait for three hours without being informed about the delay in the recording.
I feel like when I'm on stage, when I'm writing songs, singing songs, I'm in the studio, I'm shooting videos, I kind of get to become this character, and I can make that whatever I want to make that.
I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.