A Quote by Amanda Seyfried

I just like to do covers, every once in a while. If someone pays me to go into the studio, I'll do it. — © Amanda Seyfried
I just like to do covers, every once in a while. If someone pays me to go into the studio, I'll do it.
Every once in a while you have to go out and treat your family and friends and stuff like that. Once every two months, I'd say, is when you do that. When you do it every weekend it gets a little excessive and the people around you start feeling like you have to do that every time you go out.
I love being in the studio. If I'm at home, I will go to the studio pretty much every day anyway. It's just something that I like to do.
I can't just go into the studio with one idea and be all in on that, 100 percent. It takes me a while to arrive at something that feels like it's finished.
I've always loved doing covers. Some artists don't like covers. Some listeners don't like covers. But I love them. It gives you a new perspective production-wise. It's easier for me, if I'm starting a new record, I like to produce a few songs that aren't mine just so it frees me up not to worry about it so much.
Performers may play in the studio, but they need to go out and tour every once in a while to keep their edge, or a performer who is a stranger may be asked to "sit in" on a set.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
In my off-time, I do record. Once in a while, I'll just go into the studio if there's a really good song that I have in my head and want to do. I think, as artists, you're constantly in creative motion. If I stopped writing songs, then that's a part of me that would stop in my life, and I need constant motion.
Every once in a while, someone would call me a foreigner or a Yankee, or whatever. In the United States, someone might say something, like how kids do, to point out that you're different. That would come as a surprise to me. As you get old, you either get defensive about it or you accept it and you reach out, because you realize the world's full of people like that.
Someone once told me we have in our minds who we want, and often those aren't the people we actually want. Like, once there was a girl I thought was perfect for me - I had every box checked with her. But I just didn't feel anything.
I'm never gonna go into a studio and work for a whole year non-stop. Just every day on my own in the studio working, it's just too damn hard.
I work just as hard and have just as much fun whether in a 50-seat house or in a 1000-seat house. It's a luxury to be in a tiny space every once in a while and a rush to be on a giant stage every once in a while.
It's been quite a while since I was really afraid that there was a boogeyman in my closet, although I am still very careful to keep my feet under the covers when I go to sleep, because the covers are magic, and if your feet are covered, it's like boogeyman Kryptonite.
You go first. Go through the door before me. Enter the limousine while I wait by your side. Enter the shops while I stand behind, guarding your back. Sit at the table before me. Please, sample the tastiest morsels while I sit quietly. My desire is that you go first, in every occasion of earthly life. Only once will I go before you, And that will be at my last moment. For when death claims us, you must go last. Because I can't live one second without you.
And the first thing we have to do is vote. Hey, no, not just once in a while. Not just when my husband or somebody you like is on the ballot. But in every election at every level, all of the time.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
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