Top 1200 Studio 54 Quotes & Sayings - Page 3

I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.

I get verklempt if I see a vintage TI-30 or TI-54 calculator. But I don't think I'd want to use one.

I took a lot of influences from Studio Ghibli, which is the Japanese animation studio that made 'Spirited Away' and 'Castle in the Sky.' They're like the Japanese version of Disney - but without all the schmaltz.

How many 54-year-old quadriplegics are putting albums out? You just have to deal with what you got, try to sustain yourself as best you can, and look to the things that you can do.

I formed my own studio, carried my own deficits, owned one-hundred percent of my negatives, and made a lot of mistakes, but we ended up being the third largest TV studio in Hollywood.

When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.

If you have to be at work at 8, it's always like, 7:54. Just enough time to do nothing. To just lay there and go, "I can't do anything! I can't even have an English muffin!

I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.

Yes, you want to do studio movies, but I also want to grow as an actor, and an actress like me is not going to get roles where you grow and evolve in a studio film. It's just not gonna happen.

I was getting offers. I had just turned them down. Then I realized I should be grateful that at age 54, people were still offering me film roles.

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.

I heard of this Texas studio. The owner, Tony Rancich, wanted to fly us out for the day to see the studio. I booked it the next day. He's that rare guy that is in it purely for the love of it.

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

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.

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.

On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.

If you're in a commercial studio, you've got to be out by the end of the day, and it can be paralyzing, but if you have your own studio you move fast because you don't care. If you don't care, you can be patient, and also think fast.

When I joined, I was one of the first artists to sign on to the Motown West label when they opened their first studio in California. At the studio, you'd run into Stevie Wonder, you'd run into Marvin Gaye…it was very special.

When I first walked into 54 Below, I had this kind of deja vu experience and tried to imagine what this was like back in the day when I would come here at night after doing 'A Chorus Line.'

I don't spend that much time in the studio. When I first started doing music, I was in the studio every day just trying to build my portfolio. But now, even though I haven't totally mastered my craft, I'm at a pretty high level.

There was a recording studio in my school, and I knew this kid who had a key, so I'd write lyrics in school while I was in class, and then, in a 10-minute break, I recorded the song 'Hurt' in one go at the school studio.

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.

I had this perfect situation where my studio was a three-minute walk away, and every day I would go to the studio. If I had an idea, I could work on it at the highest level possible.

There were two recording studios in Bellingham. One was really expensive, a "nice studio." We were at the point where we were young and irreverent. We would scoff at the idea of a nice studio. "Why would you want to go to a nice studio? Oh wow, they have really expensive gear. Ooh, that's really fancy. Well we've got an eight-track. We've got it going on here." Now that we have the resources, we're like, "Oh wow, a nice studio is pretty nice! They do have nice outboards here. It's actually a pretty good place." It's funny how much changes so quickly.

If Jack Nicklaus can win the Masters at 46, I can win the Kentucky Derby at 54.

I'm never gonna go into a studio and work for a whole year non-stop. Just every day on my own in the studio working, it's just too damn hard.

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.

Actually, because of new technologies, my full studio is on my laptop. And I have a little keyboard in my bag. I can make everything I do come from my laptop. Even when I go to a big studio, all I do is to plug in my laptops. That's they way I do it.

You never hear of a live-action studio that has been making so-so films looking over at a studio that's making great movies and going, 'Oh, we see the difference - we're using a different camera.'

'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.

When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.

My take on what happened with the moon landing was [......] they suspect [ sic ] that on impact that the cameras would be damaged because back in 1969 cameras weren't, you know, like they are today, as good. So they had a studio set up at CBS to mimic the moon landing. And sure enough the cameras broke and so they flipped, you know, the CBS studio on. And what you saw of the footage of the '69 moon landing was actually at CBS studio.

The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.

I'm always looking for ways that I can work from home with my home studio and stay busy. This is a great way to do it. Having a home studio has made projects like this a lot easier.

People who mock rap and say, "I don't like it," they should go and check out Kanye [West] in the studio rapping, or Marshall, Eminem, when he's in the studio. It's a phenomenon. Don't knock it until you've seen it. It may not be your cup of tea, but don't ridicule it.

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.

The most calmest place I can be is the studio. And like, I stay in there 'cause I know, when I come out, it's back to reality. Man, if you're angry all day, man, stay in the studio.

The role of a modern studio chief is much different to how the old studio chiefs used to operate. It's not so much a position of power anymore, but a position of influence.

I just love being in the studio, and that's kind of what I do when I'm not on the road. I'm just in the studio messing with stuff, and I love playing all the instruments.

Don't forget, I've been fired by studios; I'm not the studio's guy. I'm a guy who can work with studios, but if you ask any studio, I stand up to these people.

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.

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.

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.

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.

What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.

Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.

My mom was truly an iconic figure, a great journalist and a pioneering woman who died at 54 of cancer without ever having revealed to viewers that she was ill.

Even with Dream Theater, we track in a big studio and everything. But when it comes to doing leads, I don't really require a lot of studio to do that. I need a good sounding room and a Pro Tools rig, and some Neve mic-pres, and I'm good.

At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.

We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.

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.

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 function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.

Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.

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.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.

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 kept hearing about my 54-hole record and I kept telling myself that records are made to be broken.

A studio that's designed to make television shows is not a studio designed to make a fashion line, so a lot of times, we have ideas for things we might want to do but don't necessarily have the infrastructure to do them in a timely manner.