Studio Quotes

There's something really nice about writing something on Wednesday and watching it being performed live for a studio audience on Tuesday. You never really get that with novels.

The best advice he gave me was to carry on. It would have been difficult to set foot back inside a TV studio if I hadn't carried on - I don't know if I would have ever gone back in.

We work hard when we're in the studio, but then when we take our breaks, we walk outside and look around.

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.

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.

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.

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 knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.

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.

I used to sit near Marilyn Monroe in the Actor's Studio. She'd get dressed up because that was her identity. Sad. Those cameras wouldn't leave her alone. She didn't know where to hide.

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.

My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

I just like to do covers, every once in a while. If someone pays me to go into the studio, I'll do it.

Motion-picture studio floors used to be all wooden and not smooth at all. This was difficult when moving a camera around on a dolly.

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 have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.

The photoshoot glitz and TV studio make-up isn't the real me. I spend most days at home in Bristol in jeans and a T-shirt running around after the kids or shopping in the Co-op.

I feel like I'm stepping into a place of spiritual contemplation every time I enter a studio; it's always had a certain magic to me that has never worn off with familiarity.

The studio system reminds me of the stock market.

I did a couple songs with this hip-hop guy named Tim Dark. He was working in the same studio I've been working in, he heard my music and he said, aw man, I've got to do something with you.

Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.

I was sitting in the looping studio late one night, and I had this epiphany that they weren't paying me for my acting, for God's sake, but to own me. And from then on, it became clear and an awful lot easier to deal with.

I guess I'll just slip into the studio after the next time with the Muses, and then just keel over and die.

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.

When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.

Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace.

I've certainly auditioned for big budget studio films. I don't know if it's because there's so much money involved, but a lot of times the pressure overwhelms me and engulfs me. I end up falling apart in the audition.

So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.

I think you get in trouble if you make experimental big studio films.