Top 1200 Studio 54 Quotes & Sayings

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.

Studio 54 was the place you could never get into. Of course, the place you can't get into is the place everyone is trying to get into.

I've been in every disco in the world. I saw a picture of my wife Shakira and I dancing in Studio 54; I didn't even know someone had taken that picture.

I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.

Diana Vreeland was "the Empress," the avatar of the age. An old name or old money were not enough to get you into Studio 54 - or Interview magazine, for that matter. You had to have a lot of something else, like looks or brains or wit or fabulous clothes.

I'd only been to Studio 54 a couple of times, when I was 16.

So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.

Andy Warhol was a good friend of mine. We used to go to the Studio 54 nightclub together with the likes of Liza Minnelli, and we'd dance through the night.

I'm an old man at 54, without teeth, and with rheumatism.

All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.

A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.

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.

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.

When I'm in the studio, I stay in the studio, like, sometimes 20 hours out the day.

I wrote my first song when I was 54 years old.

I loved to dance and went to Studio 54 at least twice a week. But I always felt nervous around the people there. I was in awe of that whole Halston-Liza Minnelli crowd. To me, they were the real celebrities, and I was just a girl from Idaho.

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.

Because there wasn’t enough time to play 54

They're mostly done before we went into the studio, although I do like writing in the studio.

I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.

What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.

It would be a dream come true if I could just go from studio to studio and play solos.

My father ran a famous L.A. nightclub complete with roller-rink - Flippers - in the early Eighties which was the West Coast's answer to Studio 54.

Studio 54 made Halloween in Hollywood look like a PTA meeting.

Am I 53 or 54? I think I'm 54. I was born in 1941. So this year I'll be 55.

We used to go to Studio 54 - an amazing place.

The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.

I was never much of a club guy. Even when I was in New York in the early eighties, I never was once in Studio 54. It was too noisy. My version of those years mostly took place at my house.

When you think mid-seventies, you think of Studio 54, but there was a whole other thing going on. Where I was, it was more deep-woods preppy. Real-guy preppy.

If I was an artist, and I was in the studio, then whatever I was doing in the studio must be art.

One of my best friends, Stephen Sprouse, Bill Dugan, and I worked designing clothes, doing every conceivable thing. New York was a really intoxicating period for me, literally and figuratively. There was a lot of overlap with Andy Warhol, Studio 54, and Halston.

I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.

I had a truly horrible dream last night ... [Arnold Schwarzenegger, Mike Tyson and I] were on our way to a TV studio for a debate about his long-time working friendship with the powerful Bush family from Texas and how it might affect the next Bush presidency when The Terminator seizes power in Sacramento and tries to hand over the state's 54 electoral votes by election day in 2004. That is the basic plan behind Schwarzenegger running. He doesn't want to be Governor, he just wants the electoral votes to go to Bush this time.

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.

New York had a big influence on me growing up, and I was really part of the club scene - the Mudd Club and Studio 54. When you're living in New York, you are just bombarded with style, trying to figure out how to be cool and how to feel relaxed at the same time.

My studio is fully analog. There's nothing modern. There's not even a computer in my studio.

I thought I was going to be a rapper as a kid and used to hop the train down to Jazzy Jeff's studio for, like, six months straight waiting outside of the studio for the big break, and one day we got in the studio and played our demo for Will and Jeff and quickly learned that we weren't that good.

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.

It is always weird to be in the studio working on Christmas music in June and July, so we decorated the entire studio, we really did. We brought out lights, fake trees and decorated the place to get in the Christmas spirit. You'd leave the studio, and it'd be 100 degrees out in Nashville, but nonetheless, a great experience.

Nobody's good. I hate it. I truly hate it. I mean, there's a lot of guys doing stuff I admire, but stand-up-wise I feel very alone. I really miss Bill Hicks. I wish I could have put him on my show. And I really miss Sam Kinison a lot. Richard Pryor's sick... It's like you get here and then, oh wait a minute, there's nobody here any more. I feel like the guy who finally got into Studio 54, three years too late, Duh, where are all the famous people?

When I'm in the studio I often hunger for the road. And when away I long for the efficiency of the studio.

I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'

Non-studio entities can experiment with storytelling that might be too niche... for a studio.

I was going to Studio 54 when I was 12 years old. It's true. It's crazy.

The key of the success of Studio 54 is that it’s a dictatorship at the door and a democracy on the dance floor.

I love the New York that was. The end for me was Studio 54. I don't go out at night anymore.

People always think that when they grew up it was better. The people who went to Studio 54 say, "Oh, this is nothing!" or "The Limelight is nothing. In our day it was much better." But I mean, it's always great. It's always fresh to the kids. And to me, you've just got to make it happen. You can't be a downer and say, "This is nothing like the roaring 20s."

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.

Things don't get tough in the studio. Sometimes things get tough outside the studio and going in the studio is a relief, a sanctuary, therapy.

I would go to the all-night grocery store and pretend that I was at Studio 54 because it was the only place open all night. Truman Capote in the frozen foods. Andy Warhol over in vegetables.

When I go into the studio, I'm strictly for business... I don't like any fooling around in the studio.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.

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 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.

You don't enter a dance studio and say "I can't do that." If you do, then why are you in the studio in the first place?

I was a bit of a mother hen at Studio 54.

I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.

I'm not one of those rapper guys that spend nights in the studio. I hate being in the studio.

I think the first outfit that really kick-started my relationship with Chanel means a lot to me: it was a black, sort of Studio 54-inspired jumpsuit with gold stars all over it, and I wore that, and that's how my relationship with Chanel began, so, you know, it has sentimental value.

I am 54 and age is slowly writing itself on my face.