Top 1200 Studio 54 Quotes & Sayings - Page 4

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.

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.

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 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.

How can you have a world of today where India is not represented in the Security Council; Japan, the second contributor, is not there; the whole continent of Africa, soon to be 54 countries, don't have a single permanent seat; and Latin America is absent? It's not realistic.

I think win the election big, if she can win it, I`d like to see Hillary Clinton 54, 55 percent because I want her to rule the country.

It's not like I refuse to try roles other than being a strong female boss, but I am 54, and I'm happy I'm still being sought after and that I have a career that allows me a lot of creativity.

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.

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.

In our Nation, approximately 22.5 million children ride school buses to and from school each day, which accounts for 54 percent of all students attending grade school.

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.

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.

It's more important to have the one million diehard fans than to have 54 million people who aren't necessarily fans, or they might have liked one thing you said or one video.

I am 54 years old and happily single. In addition to my nuclear family, I have a close circle of friends. Most of my friends are men. But my reputation is such that their female partners would never consider me a threat.

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.

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.

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.

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.

Baseball's Opening Day is full of time-honored traditions: the President throws out the first ball, the Cubs' starting pitcher walks away with a 54.00 ERA, the Royals get mathematically eliminated from the pennant race.

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.

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.

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 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.

I basically sat down for a month, with all the Sun stuff I could find and just picked out my favorites. I didn't think that they were indicative of '54 to '57, although I tried to stay within that period.

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.

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.

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 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.

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.

In the scriptures the term light-mindedness means making light of sacred things or not taking seriously those eternally significant things that should be treated with reverence (D&C 84:54).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

When you match my body size with my talent and my work ethic and my IQ as a boxer inside that ring, I really have it all, and I'm flexible enough to really jump up to any weight - '40, '47 or '54, for the right opponent.

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.

I was with the former president for over 54 years. I don't regret that; I feel very proud. It was necessary. It is history. Each step where we worked together was a privilege, and in terms of history, that was necessary.

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.

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 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.

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.

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.

My contemplation of life and human nature in that secluded place [cell 54 of Cairo Central Prison] taught me that he who cannot change the very fabric of his thought will never, therefore, make any progress.

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.

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.

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.

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.

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 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 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!

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.

McMaster, 54, is the smartest and most capable military officer of his generation, one who has not only led American victories on the battlefields of the 1991 Gulf War and of the Iraq War, but also holds a Ph.D. in history.

While I may not agree with all of President Obama's energy policies, I strongly supported his successful effort to double fuel economy standards for cars and trucks to 54.5 miles per gallon by 2025.

'Rescue From Gilligan's Island' was the first of the so-called reunion shows on the networks, getting a 54 share. With numbers like that, everybody else started to have reunion shows.