Top 1200 Studio Quotes & Sayings - Page 3

I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.

The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.

I have always felt that my career was not going to be a straight shot up, but more of a kind of rolling wave, so that I could raise my children. So I got pregnant when I was the head of production at a studio, and I became chairperson at a bigger studio when I was pregnant with my second daughter. You just do it!

Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny's house, so we could rehearse every day.

I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.

I lived in a pretty big house, and we had a guesthouse, so when I was 14, I built a studio in my bedroom, which was pretty big. It was two rooms connected, so I turned the second into a studio and ran the mic in my closet.

I'm involved with Kid One Transport and Studio by the Tracks in Alabama. Kid One literally transports kids to better health by giving them transportation they may need to get medical care. Studio by the Tracks is an art outlet for mentally challenged children.

A studio gangster dupes people into believing he's a tough guy, but in reality he's the former student body president and member of the National Honor Society. Once Vanilla Ice was fingered as a studio gangster, his career was over. Thank God.

When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.

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.

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.

In many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio; we build the songs that way.

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.

When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.

I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.

My mother was a famous photographer for actresses, including Sophia Loren, Gina Lollobrigida, and so many. I remember I went to school close to my mother's studio, and for years, I went to the studio after school and just watched how she captured these beauties.

I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.

The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

I've done big studio films and the big studio films I've done, I've tried to do the interesting ones and the ones where I could live with myself in the morning.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.

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.

At a certain point you have to make a decision in your life about where will you best serve, and I decided that I would best serve as a producer as opposed to a studio executive. There are many upsides to being the studio executive, but one of the downsides is that you get removed from the actual process of making the movie.

There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.

There have been 15 or 16 screenplays over the years, including one by me, but none of them has gotten made because Paramount is a huge studio. The Dice Man is an anti-establishment cult novel and you don't normally make studio films from such dark comedy material.

'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.

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 probably 15 when I started going to the studio with the older cats in my neighborhood. They heard me rap outside one time; I was just freestyling. And they invited me to the studio. It's good when you're accepted, no matter what crowd. That's the first step of believing you can do whatever you feel like putting your mind to.

I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.

Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.

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.

When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.

There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.

I'm very thankful that I'm in a position where I'll never be without a session. I'll always have someone who will want to get in the studio with me, or there'll always be someone that I'll wanna get in the studio with.

Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.

It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.

'Southern Accents,' I think that's one of my best, really. That would have been 1984, and I wrote that on the piano in the studio at home. I had a studio, and I just happened to be down there in the middle of the night. It was quite late, probably early morning, and I just started to play, and a song just started to appear.

You come to my studio, it says 'No photography on premises.' I picked that up from Kanye. We don't need all that. In the old days in the Wu, we didn't allow anybody in the studio, not even women. We didn't start allowing women until five years after our debut. ODB used to get mad.

I love the studio system. Love that studio system and all their money. They're great; I think they're fabulous . You know, what it is right now is I feel like I'm still learning as a filmmaker, I'm still starting out.

Most of the time throughout my day I like to keep it light. Go to the mall or drop by a friend's house, go talk with my family. And then after that it's studio. Studio is kind of a process. It's like an all day thing.

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.

I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.

The funny thing is that the studio that we recorded in was the same studio that Frank Sinatra and Bing Crosby and Nat King Cole used to warm up their voices in before they went across the street to CBS Radio. The owner has preserved it exactly the way it was in 1925. It was such a perfect coincidence that we were doing music inspired by that stuff in that room. It was incredible.

I've gotten to work with amazing people. I would say usually we get to a point before we get into the studio where there isn't that sense of anxiety or nervousness of who they are because I don't think it would be as productive in the studio if that was the case. But maybe meeting someone like Neil Young for the first time made me anxious.

When I was younger, I'd be in the studio three days straight to get something right, and my manager would be like, 'Go home!' Even now, I still sleep in the studio sometimes, but I can't do it quite as often. I've got gigs; I can't have my hobo beard! But if you love what you're doing, you can't stop. It's obsessive.

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.

If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.

I don't call myself an 'independent filmmaker'. Either a concept works within a studio system or it doesn't. If it does then you should try to get a studio budget so that you can use all of the tools they have to get what you want. If it doesn't then you look elsewhere, or make it yourself.

The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

I made my entire first tape using Beats headphones - the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.

I love being in the studio. It's really great. I like it a lot. But of course, I like performing more. But when I'm in the studio mode, it's cool. I like to really focus on it.

A fitness instructor in Maine has been charged with running a prostitution business out of her Zumba dance studio. Authorities first got suspicious when they saw guys going to work out at a Zumba dance studio.

In my early years, I would be in the studio till 11 P.M. Come home, have bath and dinner, and write music till 2 A.M. I would wake up by 4, sit down to do my music, and be at the studio at sharp 7 A.M.

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. But in the end you have a great sense of personal dissatisfaction.

There might be two or three songs I'm trying out. I've been singing these songs (on the new album) in the studio, but I haven't really done them live. It's intimate to sing them in a studio. Now, I've got to be on a stage and be in front of a lot of people.

When I'm at home or in the studio, I have a 1963 Martin. It's a D-28, and I love that guitar. I write on that guitar, and it's the first guitar that I put a pickup in and ran through an amplifier, splitting the signal to the amplifier and a DI or in the studio mic'ing it traditionally and putting an amp in the other room.

Me and Goldlink have known of each other for a minute and our managers know each other so they set up a studio session. When we got in the studio, we was cool; we're from the same area so we have a lot in common.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.

I knew how to sing in choirs and sing in church, but I didn't know how to sing in a studio. That's what Darlene and the Blossoms taught me to do - to be a studio singer.

The studio experience fluctuates depending on who you work with, it's not like it's all one experience. Every studio is different, every producer's personality is different. You never know what you're going to do.