Studio Quotes

I'd just recorded it in Mariah Carey's studio. THey thought the song was perfect for Nina, because she's so shy, so it was nice to have that connection with Nina in the song. It was special.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.

I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.

It takes a week to do a sitcom in Hollywood. I do a show a day in my studio, three or four shows a week.

We wanted it more live and raw. We didn't want a studio sound.

The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.

You've got to be able to make animation for much less... Less is not the studio's way.

I probably am more shy than people realize. But I'm shy when I leave a studio and I am just myself.

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.

I started off as a studio pianist in Hollywood.

I can never remember what I do even in the studio.

To be able to get up and be in my studio and work all day is a great joy.

I love ballet. Ballet is its own being. It has its own vocabulary. I feel as if I am in a different world when I am in the ballet studio.

I have no philosophy, my favourite thing is sitting in the studio.

I lived in the studio apartment that I bought for four years before I bought it in 1989, so I was already in it. I began living there in 1985, so I've had the same address and phone number since then.

I went from a guy, kind of a working actor, a supporting player, to magazine covers and being offered the studio pictures really quickly. Nobody was comfortable with it. I wasn't really comfortable with it.

That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.

I wake up every morning and I feel like I'm juggling glass balls. I live in Los Angeles, my business is run out of London, and most evenings I'm cuddled up in front of Skype, in my dressing gown, speaking with my studio in London. I travel a lot, my team travel a lot, but I wouldn't have it any other way.

Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

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.

It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.

I like to explore a lot of textural, arrangement aspects in the studio.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

It's hard to know exactly what it sounds like to me. I'm in the studio and I write it. and that's it.

The moment I got a very big studio, everything took off.

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.

I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.

I learned so much about playing and touring being on the road and in the studio with Jeff, but I'd always played a lot of gigs in Seattle even prior to joining the Fusion.