Quotes of All Topics . Occasions . Authors
I played around with GarageBand before, but I'd never actually made a proper song. So it was getting into the studio with him where I made my first proper song. I've always loved creative writing, so I had done that as well.
We are just at the studio, me and my choreographers, we are spending like 30 nights and we are thinking, what is my next dance move? Because in Korea there are huge expectations about my dancing. So it was a lot of pressure.
The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
Me and John Mayer met via a mutual connect, we were by the studio and he asked If I could play him my music. When he heard 'Under The Influence,' he asked if he could be a part of the track and of course, we made that happen.
You don't see me in the club. And the reason is because I would rather be in the studio mixing these musical potions. Now sometimes they blow up in my face, and there's a lot of smoke. But that's who I am. Music is what I do.
I'm a member of the Studio City Driving Range. They have a nice little par-3 AstroTurf course and driving range. You know, I don't belong to a course because I don't golf that much, so it's not worth it for me to join a club.
I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.
I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.
For me it was perfect, because it wasn't a very competitive environment, and it was a studio program. They basically send you off, and say, bring us some work, and we'll help you improve it. It really rewarded self-discipline.
I have, like, 'Finders Keepers' fever now! Sometimes I go in the studio, and I'm like, 'That worked so well, and I wrote it in 45 minutes, so if I try wearing the same outfit and playing on the same piano, it'll happen again.'
I write a lot of music in my time off and I compose most of the songs on guitar. I've actually gone into the studio and recorded a few things, but it's tough trying to sell a song. It's all about finding that hook, that melody.
It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.
Working improvisationally in my studio with dancers, it's completely different. We don't have any starting point; we don't have an end point. We don't have anything we are trying to show or do. The picture evolves from nowhere.
I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.
I was 27, an unemployed actress living in a really crappy studio apartment. I had just moved to Los Angeles alone, away from my family. I had cervical and uterine cancer and I was told that I would never be able to carry a baby.
My son was five months old, and I built a makeshift studio in my living room so that I could do the attachment parenting approach and write the record at the same time. That was fortuitous, that we could build that in the house.
Besides my son, music is the most important thing to me. I always have music on in my car and playing at house, and I'm in the studio or performing every night. I like Beats by Dre for headphones, and Bang & Olufsen soundsystems.
It's a privilege to serve the poor, to be servants of noble Africans, but I better belong in the rehearsal room or in the studio with my band. That's where I want to be and I still wake up in the morning with melodies in my head.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
I guess in the independent market, I'd be getting offers, but in terms of big studio films, I still have to audition. I don't think my name is that well-known, I don't have much of a following to guarantee box office success yet.
One of the things that 'Love, Simon' is doing that hasn't been done before is it's a gay teen rom-com with a mainstream wide release and the backing of a studio that previous gay rom-coms have not had. I'm really excited by that.
I think there are probably ghosts in the world. I have not seen one but I feel like I felt the presence of one. In Korea there's been a superstition that ghosts love music, so they're always in a studio or a dance-training place.
All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.
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.
I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.
I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.
I get so fed up with the making of an album taking over my life - it's all I can think about or talk about. You find yourself in a rut and lacking inspiration and it's hard to get out of that because I'm working alone in the studio.
I produce some of my music videos on a $200 budget. But I produce most of my videos on zero budget. I have a studio in my apartment - which is actually just a green screen I have tacked on my wall and some lamps to light everything.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
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.
But I think the credit has to go to Geddy... he spent a lot of time in the studio with Paul, I think he needed that kind of focus to be in there to be a part of the whole thing, and for the most part he made all the major decisions.
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.
I was fortunate to write pretty much a year out of film school and start making movies in the Hollywood studio system. But with each progressive film it became more frustrating not being able to speak and say things I wanted to say.
R. Kelly is an image, a brand. That's my job. There's a whole other side of me that's Robert, who is a father, a friend. But then I put on the game face and go into the studio and do the music. That's just another day at the office.
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
I have been lucky in getting a lot of the projects I've wanted, maybe because I'm really, really driven. But there is a stigma that women can't direct big studio films. Not that I want to do that, but it is a topic that comes up a lot.
It just clicked that it was the next step for me; choreographing didn't interest me, and opening a studio wasn't a passion for me. I didn't know if I'd be very good at acting, but then my first scene in acting class... I just loved it.
When you're recording a ninth studio album, you can't fail. You don't really have any fears. You just make the best record that you like. You hope your fans are gonna like it, but if they don't, they have eight other ones to listen to.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
When I recorded my first line on a song in a studio, I was four. My dad makes music, so he was kind of messing around in his studio, and he had a line for me to say, and I recorded it, and that was at the beginning of one of his songs.
Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.
During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.
If I'm in the studio, I'm completely on music. I try to go to that place and that's the toughest thing for me to do. When I'm with other musicians, sometimes I go back to, almost like, childhood, because that's what I always wanted to be.
There have been times - and not just on 'The Newsroom,' but on 'The West Wing,' 'Sports Night,' 'Studio 60'... - where it was hard to look the cast and crew in the eye, when I put a script on the table that I knew just wasn't good enough.
And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. I always felt it was better on the White one for me. We were more like a band, you know.
It's not part of my ambition to become fabulously rich. My plan was always to make my pictures, and hopefully people would buy them, and then I'd buy a studio, buy a house, help friends out, do bits and bobs - but I've no idea after that.
I used to suffer from stage fright, which at times was an ordeal. I won't perform live again. I'm going to do some TV shows and videos but nothing else... I don't like to travel too much or do concerts. I'm more of a studio and home girl.
Well, we didn't have our original drummer on our last record. And most of that album was not played as a band in the studio. It was mostly the world of computers and overdubs. There was very few things played live or worked out as a band.
There are things I can accomplish in the studio via manipulation on the computer or some kind of effect that are nearly impossible to do live. On the flip side, there are some things that happen live that can't be pulled off in the studio.