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Actually, with 'Truth of Touch' I wasn't even intending on making an album. I was just having fun. I had about a six-month period of down time, and I'm not very good at sitting around. So I kind of started going into the studio and having fun with new core mendin sounds.
I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael's work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.
I think it was probably down to the fact that we weren't together personally as a band. We weren't pulling in the same direction. I always feel if you're having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
We never enter the studio unless we feel like, right now, if these are the songs we record, that we would have an album that we're proud of and we're excited about. And we put everything under the microscope and examine it the best we can to make sure that we're prepared.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
I've always been blessed with confidence. I am a glass-half-full person. My first movie, 'Private Benjamin,' got turned down by every studio until the very last one, but I just kept thinking, 'Why are you people not seeing that this is a hit movie? What is wrong with you?'
Umm... my favourite Wizkid tune of all time would be 'Don't Dull' 'cos I recorded the track in, like, 5 minutes. The beat was ready, we went into the studio and freestyled, and it was ready. The song became really, really big, so I think 'Don't Dull' is still my favourite.
When you're going for a big studio comedy, the joke tally better be pretty high, and you better have some big comedy set pieces. That was one of the issues when I was trying to get 'Swingers' made for the first time, which is that there weren't any broad comedy set pieces.
In the mid-1970s, I even decided to make my own country album. I put the idea to my record company, thinking we'd just go into the studio in the U.K. and make a novelty album. But instead, they suggested I go to Nashville. I was flabbergasted. I hadn't expected that at all.
When people ask me if I have a hobby, a lot of times my answer is that I like to surf in warm water. I like to ski, if I have the opportunity. But really, I like to go to my studio and write music that I want to write, where there's no pressure to come up with a hit single.
I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.
Friends came on the road, came on tour, came in my music videos; I got in the studio with them. I'm a really loyal person, and I don't have a really large group of friends, but the people I hang out with I really, really care about, and they continue to be a part of my life.
I will never, never ever sing on stage, but when I'm in the studio, I do sing melody lines. When I'm working with singer-songwriters, and I hear melodies, I can guide them. I will be like, 'Oh no, do this this this.' But you will never hear my voice on a Martin Garrix track.
It turned out that those years I was at the Studio were the last years that Mr. Landau was alive and teaching. They were also the last years of some of the greatest teachers that have walked the earth. I got to hear the advice of Charlie Laughton, Mark Rydell, and Penny Allen.
I had already been making music for my whole high school life, and '10 Day,' which took me a whole year to finish, was about working with a lot of different producers and learning all of the aspects about being a rapper, from shows to recording to studio etiquette to marketing.
I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.
I like work, I like song writing, and I like the history of Atlantic Records. They've sat in the studio with so many artists - like Ray Charles, for example - and created something amazing. As a label, they seem to be great at growing bands rather than telling you how to do it.
The truth is, the difference between a studio photographer and a photojournalist is the same as the difference between a political cartoonist and an abstract painter; the only thing the two have in common is the blank page. The jobs entail different talents and different desires.
Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.
You come to my studio, it says 'No photography on premises.' I picked that up from Kanye. We don't need all that. In the old days in the Wu, we didn't allow anybody in the studio, not even women. We didn't start allowing women until five years after our debut. ODB used to get mad.
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 was certainly a better actor after my five years in Hollywood. I had learned to be natural - never to exaggerate. I found I could act on the stage in just the same way as I had acted in a studio: using my ordinary voice, eliminating gestures, keeping everything extremely simple.
Over a period of time, if you have a successful show, then you have a devoted audience. I feel you owe something to them. That goes for everybody - writers, camera operators, actors, studio executives, etc. Sadly, I've realized it's a responsibility that very few people live up to.
A while ago, I was starting to get bored with my routine, so I tried Spinning and fell in love with it instantly. I go to class three times a week, without fail. I always get there early so I can sit in the front of the studio, and I'm ready to go as soon as the instructor comes in.
Hello, my name is Lisa Jakub. But most people in a restaurant/dentist's office/yoga studio dressing room, call me 'Hey, you look like that girl from 'Mrs. Doubtfire'/'Independence Day'/'Rambling Rose.' There is a good reason for that. I am that girl. More accurately, I was that girl.
When we did 'The Jewel In The Crown,' we filmed in India first so the actors had an idea of what the heat was like, what it did to you - it slows you down; it's weighty: the air that you breathe is full of humidity. You are aware of the fact that you're not in a studio in Manchester.
We met Ferg at one of our shows in L.A. She gave us her number. For the song 'Shut Up' on Elephunk, we needed a vocalist. Someone said 'yo, remember that white girl - we should get her in the studio.' Since then, we've become friends. She's one of the guys now, she isn't just a girl.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
When I go in the studio, I put myself into a place where I'm feeling something I want to portray, which is often being sad, lonely. But as soon as I'm starting to make something, it's when I'm the happiest. Ever. I think that comes out at the same time, so there's that juxtaposition.
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who's connected with it, the studio's gone, the musicians are gone, and the only thing that's left is this recording which was only about a three-minute period maybe 70 years ago.
I still viewed myself as a reviewer when I was on radio. Was it appropriate for me? I think the answer is it's only inappropriate if I allowed it to affect my film reviewing. I don't think you will find any studio that said, 'Yeah, he went easy on us because he was shopping a script.'
One of the first people that believed in me, the first person to invest in my talent, me and this guy used to argue all the time in the studio, but at the end of the day, we both realized that we were after the same goal, and that was to make great music. And I'm talking about Eazy-E.
I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.
There's this index that tallies up how much your movies have made, and if they haven't grossed a certain amount, then you're not bankable. I know I'm not Will Smith but, you know, my ranking's pretty low. The only studio picture I've done is 'Zodiac,' and that didn't perform that well.
Our strengths or maybe our characteristic as a developer firm software used to maybe be known as a studio that put out unexpected, almost, like, quirky, very unique titles. Not that we've lost that charm in recent years, but that's something that I really, really liked about our studio.
The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.
I was in a movie with Marlon Brando. Now, I didn't have any scenes with Marlon Brando, but I had scenes with Martin Sheen and was around Dennis Hopper, who was a child actor in the studio system and was enamored of James Dean, as was Martin, and they were all sort of disciples of Brando.
My father was a songwriter and he had a studio, and I was always surrounded by musicians and people creating music. I think I just always believed that that was a normal job, and people waking up at lunchtime and working until late at night, that to me always just was quite a normal job.
I remember so well my father's complete concentration when he went to the studio. Everything he did, every movement he made, he did with complete concentration. Then, after he had finished work, he would go to the beach or whatever, and then he would enjoy play and forget about his work.
There's not one film that I've ever made that could get made today by a studio, not one - even 'A Few Good Men' because it's an adult courtroom drama, and studios do not make them any more. And so every movie that I make, have made and will make is always going be independently financed.
Women are usually only interesting to studio executives when they are fecund, between the ages of 15 and 30. I decided to get through the really tough patch, around 50, by just cutting my price and playing ten years older. I didn't want to have to wait until I was an old lady to play one.
There are a lot of classic Goapele tracks that are obviously me. And I'm also just trying to keep evolving and grow as an artist. I've always had a wish list of producers I wanted to work with. I just wait until the feeling is mutual and go into the studio to see what we can come up with.
I love getting into a studio with a bunch of friends. When the day's done, we've made something. We recognize that we're from different walks of the music industry, and there's no reason we shouldn't be collaborating. That's what I'm trying to create with thenewno2 - a sense of community.
I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.
For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.
Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
It wasn't until 9th grade that I got into music. This guy in school heard me singing around the hallway to girls and stuff. The girls liked it. One day, he was like, 'Come to my crib. I got a studio. Come and record a hook for me.' I recorded the hook on the 'Lovers & Friends' beat - Usher.
I worked on live studio drama, which was one weird aberration in the 1980s. I worked on the 'Battle of Waterloo,' and my job was to reload the Brown Bess muskets - the only time the audience realised it was live was when somebody leant on a button and plunged the whole studio into blackout.
I have way too many hobbies. I play guitar, and my buddies and I record music in a studio in my house. I have a couple of vintage Jeeps I'm always working on, fixing up. And I ride horses - I grew up on a horse ranch - and play basketball. I need to cut back on my hobbies so I can work more.