Studio Quotes

I was never a part of the Actor's Studio, because two friends of mine started it in 1947 and by that time I'd gone to California.

When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.

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.

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.

It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down.

I was practically born and raised at 20th Century Fox studio, started to work there selling papers when I was around seven years old, and every summer vacation from school I would work in a various department at the studio. So I was an old-timer when I was 15.

No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic.

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.

I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.

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.

But in marketing, the familiar is everything, and that is controlled by the studio. That is reaching its apogee now.

The studio that we mix in is still in Chicago.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

I'm always working. If I'm not in my studio I become quite nervous.

I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

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.

We were all ruled by the studio system. I signed a contract for seven years.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.

We're the Tom Tom Club and our studio is the Clubhouse. It a way of making it a little more personal.

I'm a big believer of daylight in the studio.

I was in the studio so much, it was about the search for air in a metaphoric sense, and the breathing has more to do with travel for me, about the search musically for open air.

As an audience member, those studio films are fun. I like an adventure tale, and I also like to go see something that has more of a social pulse. I like to keep learning and trying new things. And if the scripts are good, it doesn't really matter.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

People tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.

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.

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'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'm glowing in the dark with my studio tan. I've been in a cave of music for months and months and months.

I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.