Quotes of All Topics . Occasions . Authors
I spent two weeks prancing around a studio in Queens in my underwear with nine other guys. They were long days. But what the hell, it was Calvin Klein.
Basically, I wake up at nine o'clock in the morning, go to different record stores, go to the studio, think up different ideas for songs. Just workin'.
I'm still shocked when people say, 'You haven't done a studio record in 20 years.' I try to make excuses for it, but the truth is I just wasn't with it.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
I'm doing lots of interviews and stuff. I'm longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.
The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
Good soul music should make you feel something in your heart, in your body, and in your spirit. That's what I try to do both in the studio and on stage.
When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.
I told them if were going to do it were going to do it right, I'm not leaving 'til it's done. My wife, child and I slept in the studio. We cut these raw.
The focus is on melody: If you get it right, and it connects to the mass audience, it doesn't matter if it's a studio album or played on the dance floor.
Our studio is kind of built into our home, so it's a place you can ramble, and we can do a pretty good recording here. The band is really comfortable her.
Singing is something that I'm always happy to do it and going in the studio I never felt any pressure. I just feel like I get to sing, you know. It's fun.
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury.
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
There's a lot going on music-wise in L.A. It's a wicked place to wake up, there's sunshine, you go to the studio, see all these really talented producers.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
Andy Warhol was a good friend of mine. We used to go to the Studio 54 nightclub together with the likes of Liza Minnelli, and we'd dance through the night.
If you start out trying to achieve a specific thing - like doing stadium shows or going into the studio and doing an album - the end result is what counts.
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.
A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
I really feel there's no limitation on what this band can do in the studio or on the stage. That's an empowering feeling - that we can bring a song to life.
I'm not a guy to go in the studio and spend months, let alone years, like some people do. I cannot even be in the studio for a month, it will drive me nuts.
I remember, my first time in the studio, I was with my dad, Dark Skies. I was, like, 4 years old. It changed my life. I was like, 'I've found my playground.'
If we were truly in the studio making a record, it would have been more time consuming, and certainly I would have been more involved in the writing process.
Disney was a family film studio. I was supposed to be their young, leading man. After they found out I was involved with someone, that was the end of Disney.
Money's not important to me. Movie star acknowledgement is not important to me. I don't want to be a big studio actress. I don't want to be in the limelight.
I'm in the studio 24 hours a day. It's true that once you get a certain level of success, you become a target. Talk magazine should be ashamed of themselves.
As opposed to touring for three years and then going into the studio and writing an album, I think this record is representative of a lot of everyday people.
I've never really had a problem with the imagination level of an audience. They're always smarter and savvier than any studio exec will give them credit for.
I was under contract to Paramount. They wanted to make me into somebody which I was not. So I got so scared and rebelled, so they threw me out of the studio.
Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.
In the studio system, things are expected of a film. By the first, second, third act, there's a generic language that comes out of the more commercial system.
When you think mid-seventies, you think of Studio 54, but there was a whole other thing going on. Where I was, it was more deep-woods preppy. Real-guy preppy.
Our band is rock n' roll. We were never just a studio band trying to make everything perfect. It was never supposed to be perfect. It was supposed to be cool.
So when bands work with me and it's 10 o'clock, usually you'd have to be getting out of the studio, we could go on until 2 in the morning cause it's my place!
I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
I don't think that a company should own a studio and the network, and program for their own network. It hurts the creativity - it is not a level playing field.
I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.
There are times pop music is the end result when I'm in the studio, but I don't really go in and say, 'Today I am going to make a pop song,' but it can happen.
One of the things I like enormously about Bob Weinstein is that that he's the only studio head I have ever known who will change his mind and say he was wrong.
I went to the studio, and I freestyled 'Beautiful' in, like, an hour and a half, and I threw it up, and people were like, 'This song's gonna change your life.'