Top 1200 Studio 54 Quotes & Sayings - Page 19
Explore popular Studio 54 quotes.
Last updated on December 11, 2024.
Travel is like a tonic to me. It's more than just getting away from the studio for a brief rest. I need it to recharge my batteries.
I feel like you're able to be your most creative in private environments, and not a studio where an A&R person is coming in, telling us a song isn't a smash.
I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.
I'm not a huge, popular artist, but I feel like one when I'm in the studio. But it's never taking away from the music. I'm just making a bigger space for myself.
I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
YouTube opened up the types of voices and alternative ways of viewing ourselves that would never have been greenlit by a Hollywood studio.
I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.
Having a studio tell you when to jump and how high eight months of the year for six years is not a relationship I want to get into again.
What does it serve any studio to not reflect the lives of people who are giving you money, who are crying out to you, 'Hey, please tell our stories.'
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.
I do feel most at home playing live, but the feeling of getting into the studio to see the new songs take shape was really incredible.
But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.
When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.
I want everything. So my next goal - and this is the first time saying this - is to gain enough money to whatever means and create a mobile games studio.
I think if you're a small studio, you're living or dying by the success of the next project, it takes a lot of superhuman effort - or at least it did for us.
One of the main things when you get notes from a studio is they don't want anyone to be confused ever, everything has got to be so obvious at all times unless it's a twist ending.
In a studio context, the music becomes greater than the sum of its parts. When you have collaboration, you have other people's strengths that I don't share, so my song can get stronger.
I think one of the studio's characteristics is to embrace wholeheartedly what we feel is interesting; what we perceive to be worthwhile, cool, or beautiful; and to place these ideals at the foundation of the games we make.
Writing 'We Are Never Getting Back Together' was one of the most hilarious experiences I have ever had in the studio because it just happened so naturally.
I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.
My little boy (Sasha) is now one-year-old and that makes it easier for me to go back to the studio and work on creating new music.
I was the first studio executive to meet with Sean Penn after 'Taps' in 1981. I was anxious to develop things with him when nobody knew who he was.
I'm doing lots of interviews and stuff. I'm longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
I'm not prejudiced about what type of movies I'm in, what form they take or whether they're studio or independent. I just want to make films that are going to be good.
I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
So many a time, I would find myself stuck in my studio while, in another country, my exhibitions were opening and I was being celebrated.
Selling a film option and getting a studio on board can be a slow process, and until things are official, you never want to spill the beans.
As opposed to touring for three years and then going into the studio and writing an album, I think this record is representative of a lot of everyday people.
The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.
There's a lot going on music-wise in L.A. It's a wicked place to wake up, there's sunshine, you go to the studio, see all these really talented producers.
I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
I much prefer the road. My thing is getting live in front of people. There is a sterile environment to a studio that doesnt make me let go.
I feel, in my live shows, I can be as dynamic as I want. It's my comfort zone. When I get in the studio, it's more of a solitary experience, which can be good creatively.
You earn very little money on independent films and I'm the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
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.
I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.
I've always worked with different mediums whether it's melting gold to make teeth, working with wood and paint or bending sound in a music studio.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
When I'm 40 and nobody wants to see me in a sparkly dress anymore, I'll be, like: 'Cool, I'll just go in the studio and write songs for kids.'
The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.
You can't do seven successful albums and just hate each other. Our yin and yang, and night and day, is what made us great when we went into the studio.
With a live audience, if you sing with the right feeling, the response you get is a high, an excitement. There's nothing in the studio that can give you anything quite like that.
I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.
We make the patterns on the computer, but we also paint them by hand - it's a combination of digital and screen-prints. I'm trying to do as much as I can myself in the studio.
You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.
It's nice to film in somewhere that you actually love being. Usually, you're in a studio for months on end, and you never see any daylight, so you really make the most of it.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.
I repeat it until it works. It is important to record, otherwise you lose ideas. That's why I never stay away from the studio, I always [have] something to ask.
When making any record, a producer has a list of things you hope an artist brings to the studio. Songs that are strong even without the bells and whistles.
Being a former theater student, of course, there is a part of me that is fascinated with stage crafts and what you can do with illusions and working within the confines of the studio.
Studio chief Winfield Sheehan wanted me to remain a little girl. If I lost my innocence, he said, it would show in my eyes.
Personally, my favorite 'meat' song is 'We Got It Right.' As soon as it comes on, it transports me to a different place. And I'm really proud of our performance in the studio on that one.
A contract player has to do what he's told, and play the parts others pick out for him. As far as the studio is concerned he's just part of the stable.
An artist needs the best studio instruction, the most rigorous demands, and the toughest criticism in order to tune up his sensibilities.
I know that when I've passed the Jim Nabors set at our studio, I call out 'Hi Gomer,' and I can't honestly think of his real name.
I was blown away by the amazing atmosphere at Moshions's studio. The amount of work, love and dedication that went into the bespoke clothes felt so personal. It was stunning.
The 'wandering studio' gathers and stores experiences, takes chances with the unfamiliar and requires a measure of self-trust. Mistakes are part of the change of scene.
