Top 1200 Studio 54 Quotes & Sayings - Page 18

About 70 percent of everything is really sketched out on my keyboard beforehand, because I do want accidents to happen in the studio.

[Television] is a great medium for writers, because there's just no time for a studio to interfere very long. You write it, you shoot it; it's on TV.

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.

The highest admiration I have for my colleagues is not for someone in a studio in New York but for somebody on the ground in places that they've gone to fight to tell the story.

Shark Tale feels borrowed, sampled and dittoed from the collective funniness of the past 10 years in studio-made animation.

I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.

I knew I had more in me than just standing up and having my picture taken... Being in the studio, I have to have an opinion.

I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.

Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.

When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.

We rarely write in the studio. Everything's already completely arranged before we go in. That way, we can really focus on getting the recording right.

I love the finished product, but I find working in the studio a chore - I use an old-fashioned setup, so the recording process can be frustrating.

I do get star-struck, especially if they're icons like Florence Welch. I met her briefly at a studio and I did not act cool.

The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.

I get up at 3:30 A. M. We're on air from 6 A. M., so if I'm in the studio, I'll have eggs at around 7 A. M. from the canteen - scrambled or poached, occasionally with a slice of brown toast.

Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.

By the time The Band did The Last Waltz, the chemistry had changed, and it wasn't a thrill anymore to live that studio kind of life.

Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.

When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.

You can no longer just have a magazine that shows you this glossy impervious image of women - in the studio, artificial, wearing a push-up bra.

I much prefer the road. My thing is getting live in front of people. There is a sterile environment to a studio that doesn't make me let go.

I wanted to retain my individuality. I was afraid of being hampered by studio policies. I knew if someone else got control, I would be restrained.

I love collecting; my joy is finding private press American or European home studio electronic music from the 60s and 70s.

I'm not the kind of person who would want to go into a studio and manage other people and listen to the phone ringing. That's alien to me.

I came to L.A. in 1970, and my desire and my training was to be a studio musician, which I had read about in my senior year in high school.

You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.

I wrote two novels about a yoga studio in Los Angeles published by Penguin under the pen name Rain Mitchell.

I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.

The same day I was supposed to go to college, I ended up hitting the studio and then poppin' out on the block after that.

Success for me is just having a job and have the studio feel confident that I can go out there and make a movie that people will enjoy.

We shouldn't be afraid to fail- if we are not failing we are not pushing. 80% of the stuff in the studio is not going to work. If something is not good enough, stop doing it.

Success is created in studio apartments and garages, at kitchen tables, and in classrooms across the nation, not in government conference rooms in Washington.

I'm still shocked when people say, 'You haven't done a studio record in 20 years.' I try to make excuses for it, but the truth is I just wasn't with it.

Ive always enjoyed the enthusiasm of the best studio musicians and, over the years, have collected so many inspired contributions from them.

The second single from 'Purpose,' Justin Bieber's fourth studio album, 'Sorry' is an infectious confection - a Dorito for your ears.

A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.

Making a summer movie is like accepting a mission impossible: your enemies are everywhere, and if you fail, the studio's never heard of you.

I really just wanted to work on adventure games, so Pinkerton Road is our own little indie studio that's focused on that.

For young players, their minds are not overloaded. I am 54 with four kids and I do many other things. Even if I stopped everything else, spent months working just on chess, for a long match against most of the top players, a classical match, six hours, say, I don't stand a chance. I have a better chance in shorter matches. Rapid is 25 minutes, or blitz events where you have five minutes to make a move, or bullet games, where it is one minute. For blitz, five-minutes chess, I would be top ten, top five. But longer games, no chance.

Eventually, when I sell enough units, as they say in the record business, I will stop touring. I'll concentrate on what I like to do... stay in the studio.

I'm constantly fighting with my manager to reduce the amount of time I have to spend on promotional activities, so I can get back in the studio and work on new music.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.

I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall.

I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.

I feel like if I do my homework practice-wise, by the time I get to the studio I can put everything exactly where I want it to be right away.

At times, I will get in the studio and force myself to just write an entire front-to-back record, and 'Let Me Go' is one of these.

I studied all kinds of dance, all types of music. I got good grades. I started hitting the recording studio around 13.

It's amazing how if you turn up at a studio without an idea, a picture will take itself from momentum, and you quickly can lose control.

Matter fact, my girl complains about how much I'm in the studio working. But she sees the results as they roll out.

Don't be intimidated by Caesar's Hollywood fake versions of religiosity. If life has a meaning for you beyond the TV-studio game, you are religious! Spell it out!

My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

So when bands work with me and it's 10 o'clock, usually you'd have to be getting out of the studio, we could go on until 2 in the morning cause it's my place!

I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.

So many people have done Coke Studio but my song broke all records. I think I was highlighted too much after CS.

I like walking into the studio everyday and having completely custom, diverse artwork to do. And my clients keep the interesting ideas flowing in.

I benefit from contemplation, but it's a great antidote to that, having someone interesting come into the studio environment to be painted, so that I can experience a little bit of their world.

I frequently lock myself in my studio. I do not often see the people I love, and in the end I shall suffer for it... painting is one's private life.

Even after rowing in all these pieces, it's often hard to determine who will be selected because the decisive factor in seat racing is speed not margin. Boat X beats boat Y by two lengths over 1000 meters in a time of 2:54. After exchanging "Dave" from X to Y for "Scott," Boat X beats boat Y by one length in a time of 2:51. From the rower's perspective, the result is that Dave beats Scott by a length. But in Mike's eyes, Scott beats Dave because on the second piece, X was three seconds faster-even though it only beat Y by a length.