A Quote by Jamie Wyeth
Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.
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When I was growing up, I wanted to do Letterman and I loved that live, in-studio model. I still would do something like that.
Guru and I had a house in Clinton Hill, Brooklyn, for a while and we used to have wild parties there when we weren't in the studio. It was like a fraternity house.
I'm very critiqueful of my own stuff, and I kick everybody out the studio when I'm singing, no one is in the studio, it's just me and the engineers, no one else in the studio when I'm doing my thing.
I'm willing to give up a little control but not a lot. So I say I want the money, but when push comes to shove, I'm not sure I'll be able to compromise in order to make the big studio movie. Maybe something in between would be okay, like a low-budget studio film.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
I was never exposed to art school. I grew up in an artist's studio. I was exposed a lot of studio time between of my father and a great painter I studied with in Barcelona. That was my art school, as Europe was.
If you end up spending more time in the studio than you do on the road, that's not a good balance for me. Because I think when you're in the studio, you need to come off the road and go in the studio and that's when you're applying your best. That's when you've got the best attitude, best energy, all that stuff.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
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 moved my studio to Palm Springs 'cause I don't like the idea of going to a studio every day like a job... I need to make a personal record, so I need to be in a house... I don't want to be in a studio where people can hear the music 'cause I don't know what it is yet.
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.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
We're in an on-demand world. You can do real-time commentary now with no barriers. I don't have to drive to a studio, don't have to put makeup on. I don't have to go to a studio and get miked up.
I have a small studio set up in my house in Athens. I'll wake up, have a nice breakfast, and I won't surface until dinnertime. I'm very domesticated in that way.
For me, between "Reference" and "Sketching & Conceptualizing" is the "Get the Hell Out of the Studio" step. I most often NEED to shut off the computer, push myself back from my desk and escape the studio space to let possible ideas percolate in my gray matter before committing anything to paper or digital imagery as a sketch or a concept.
We moved to South Central Iowa to the farm where my dad had grown up, where my grandfather had grown up. The house was actually, it was a tiny little house. It was about 600 square feet and it was built by my great-grandfather. And that's the house I spent time in as a child.
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