A Quote by Phyllida Lloyd

I worked on live studio drama, which was one weird aberration in the 1980s. I worked on the 'Battle of Waterloo,' and my job was to reload the Brown Bess muskets - the only time the audience realised it was live was when somebody leant on a button and plunged the whole studio into blackout.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.
I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.
Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.
I think I worked an average of about 10 minutes a day [in Big Bang Theory series]. It took longer to get to the studio than I actually worked. So I regard the driving there as the actual job. The work itself was just fun.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
When I'm preforming a lot I'm aching to get back in the studio but I love live performance. I love trying to think on my feet and be spontaneous. I like doing that in a live show and I do the same thing in the studio.
I guess I prefer to play live, but I don't want to have only live CDs. I like playing live because there are alot of things that can happen. I can interact with the audience and say some things to get me in trouble. On the other hand, the studio is nice because you can really take your time and make something that you know is the best thing that you can ever do. But nothing beats being up on stage in front of all that energy.
I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.
When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.
There are things I can accomplish in the studio via manipulation on the computer or some kind of effect that are nearly impossible to do live. On the flip side, there are some things that happen live that can't be pulled off in the studio.
I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.
I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.
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