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Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
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.
I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.
I lived in the studio apartment that I bought for four years before I bought it in 1989, so I was already in it. I began living there in 1985, so I've had the same address and phone number since then.
Now on the other hand, if someone is selling a product, opening a dance studio, or has some other aim to help themselves, then I tend to look askance at some of these strange stories from outer space.
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
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.
In a way, I was spoon-fed, if you will, a career. It was fully manufactured by a studio that believed that they could put me on their posters and turn me into their bottle of Coca-Cola, their product.
Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.
No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama. Fight Club is a studio pic, and I've done very few of those. I've got a feeling it's going to change things for me.
I think from an East Coast point of view, you'd be like, 'Oh, a California record's a sunny record.' It's like you spend three hours in the studio because the rest of the time you must be at the beach.
The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.
I never saw myself so much as an actor. I wanted to be a cartoonist like Charles M. Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
It was a pleasure to work with Destiny's Child in the beginning of their career. Working in the studio with Beyonce was a lot of fun. She's an extremely hard worker, perfectionist, and a talented writer.
You know, they just don't make big movie stars the way they used to, maybe because the system has changed, the studio system, but it's sad to see people like Jimmy Stewart go, all the giants of the past.
Furnishing a home is no different than going into the studio and making music. You want to make sure you've pared down all the extra details so that in the end, every stitch has a context uniquely yours.
I like tweaking the studio and wiring things up almost as much as making music, so that's kind of a hobby of mine, in and of itself. I don't like to collect gear that I know I'm not going to use, though.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.
When I left Van Halen, I went in the studio and made a CD called Marching to Mars with all studio musicians. I did it immediately. With the disappointment riding on my shoulders of the breakup of the band.
My song 'Afreen Afreen' which I performed with Rahat Fateh Ali Khan was the most international heard track and it received over 93 million views. So, with every new season Coke Studio is doing a great job.
Every morning, I go off to a small studio behind my house to write. I try to ignore all email and phone calls until lunchtime. Then I launch into the sometimes frantic busy-ness of a tightly scheduled day.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I think what AC/DC does best is play live. That's when everything comes together. Even after you make a studio album, when you go out and play live, that's when you learn what being in a band is all about.
I think especially in a world where you have so little say about what goes on in your life, or in the politics of the world around you, it is wonderful to go into that studio, and tell yourself what to do.
On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.
Just when I think I hate fashion, I hate clothes, I'm seized by this crazy thing that I have to do. I have this little studio now where I just draw. I can be in the room for three days and not even look up.
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.
I think most people don't know that I really write everything myself. No help. There's nobody in the studio except for me and the engineer. A lot of people don't think I'm a singer. They think I'm a rapper.
Maybe I should have taken a few chances. That's not to say I want to go make 'Star Wars', but I need to shift my career into the studio world. That's where my head was at when I thought of the original plot.
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.
Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.
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.
Then when I was writing alone, I'd just be in my bedroom in London and I had a little studio setup. I was like, You know what, if no one's gonna produce my music, I'm gonna have to learn how to do it myself.
I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride.
I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.
Chris is the engineer down at the studio where we do these things. And he's just such an integral part and he has such a marvelous ear. Also it turns out, we didn't know, but he's a pretty good fiddle player.
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.
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.
I was in the wilderness of Hollywood for almost ten years. I was off the studio lists. I wasn't getting the roles offered to actors that hadn't done a third of the roles I had done or had the popularity I had.
If the interview was done in the studio, Frank McGee would automatically do it. But if I went out and got it, then the interview was mine. So I was considered a pushy cookie, because I would get the interview.
No, I'm a flirtatious person; I'll flirt all day long, but it really is hard to get into that when I'm so into the music, and I'm in the studio all day long and all night sometimes. That's not an exaggeration.
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.
It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.
I'm very lucky to work in so many different arenas of the entertainment industry and I do enjoy them all, but making music - original music - in the studio or live onstage is definitely my favorite thing to do.
Your intention going in is to do the best you can. You go in and do your work, day to day, the best you can. But it's entirely up to the director and the editor and the producers and the studio how it turns out.