Studio Quotes

Once we get them in the studio, you interview a person the same way you would interview another. You ask them a question. You let them answer. You try to listen closely and then ask a follow-up.

I was 23 years old. It was a wild time. I was covering everything that blew up - blackouts, Studio 54, son of Sam killer, and all of that stuff.

It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time.

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.

Just writing and being in the studio was like therapy for me.

The studio that we mix in is still in Chicago.

Imagine the first time you are about to rap in a studio and you find yourself in a booth with Redman and KRS!

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

Chris is the engineer down at the studio where we do these things. And he's just such an integral part and he has such a marvelous ear. Also it turns out, we didn't know, but he's a pretty good fiddle player.

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

I look forward to the future - and going into the studio to make new music.

Getting used to the studio and everything was fun, we freaked about alot. I was working very hard then.

And if I had a preference, it would be to be able to not be in the studio until 4 in the morning.

I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.

I thought it would be a lot of fun and I wasn't going to do the movie without Johnny. The studio suggested a couple people, and I'd never met Johnny, but I thought we'd be a perfect team for this movie because we're both a little bit unpredictable.

We seem to do better in the studio than we do in a live environment.

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?'

You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.

I'd always wanted to work in the studio and experiment with sounds. Things that I'm really influenced by and that I love are like The Beatles and Radiohead, and all those records by bands whose music is really involved.

A lot of actors said they hated the studio system, but I loved it. It was like a college; it was a great place to learn.