Top 1200 Studio Space Quotes & Sayings - Page 3

My instrument is the studio. When I play my instrument, I'm creating music using the studio. All the other instruments serve it.

Man has made remarkable strides in conquering outer space, but how futile have been his efforts in conquering inner space- the space in our hearts and minds of men.

When you go into the studio, you have to know what you're going in there for. I went into the studio because I had a voice and I wanted to change things, and I don't necessarily mean my bank account. The money is almost a B factor, a side product.

Every Vacation movie didn't just make the studio money. They each made the studio a lot of money.

I just want to be in the studio 24/7. Even if I'm not working on a song right then, just sit in the studio. That's what I love.

I think space, architectural space, is my thing. It's not about facade, elevation, making image, making money. My passion is creating space.

The studio and road both have their charms. The studio allows me to be a mad scientist and the tour lets me feel like James Bond.

The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.

Because I'm such a studio guy, I really trust my process. I really believe in myself in the studio.

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 feel like my perception has changed a little because when I was posting stuff online it was an extension of my studio and then it started getting some of the attention. Now it's like, "Oh, this is actually a place where you can make money," but I'm not interested in competing in that space. It seems like too much to deal with.

I had this vision of shooting a great white in the studio with all the edge lights I use for movie posters. I knew that I couldn't bring the great white to the studio, so I had to bring the studio to the great white.

We like the ambiance and atmosphere, and we felt really early that... I mean, of course, Air is an electronic band, but we are doing so many real recordings and the studio is so important for the sound. The acoustics create atmosphere and emotion. Also we want to be independent, we don't want to be obliged to go into a commercial studio and only stay one week because it's really expensive. We want to be able to give a chance to a song, and to spend a lot of time in the studio.

After Apollo 17, America stopped looking towards the next horizon. The United States had become a space-faring nation, but threw it away. We have sacrificed space exploration for space exploitation, which is interesting but scarcely visionary.

We started Vector with the goal of creating a development platform that would foster and bolster the micro space innovations currently underway and bring the promise of space-based technologies to a much larger pool of entrepreneurs who don't need to be space experts.

My mother would write letters when I was away at camp and say, 'There's an Ann-shaped space around the house. Nobody fills an Ann-shaped space except an Ann.' I'm convinced we all have a God-shaped space in us, and until we fill that space with God, we'll never know what it is to be whole.

Small objects, like the Walkman first and then the iPod, create bubbles of space around us that enable us to have a metaphysical space that is much bigger than our physical space.

The magic can happen in a studio. Special things can happen in a recording studio, even though it may seem like a clinical environment from the outside looking in.

The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.

But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years - problems of space and time, space versus time, time-twisted space, space as time, time as space - and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die.

I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.

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.

One asana is strong, then again another is very soft and gentle. So you have this modulation from one asana to another, just as you have from one feeling to another. Then they all, of course, make you lighter, give you space. I feel that space is what I get and receive and like to have - space inside which makes more space for openness outside.

This moment exhibits infinite space, but there is a space also wherein all moments are infinitely exhibited, and the everlasting duration of infinite space is another region and room of joys.

All space must be attached to a value, to a public dimension. There is no private space. The only private space that you can imagine is the human mind.

In the Ridley Scott film 'The Martian' you can do that [virtually driving car]. I have lifted off in the space craft from the surface of Mars, walked in space and looked down into deep space and got terrified, with the headphones and the goggles.

It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.

What I tell business leaders is you're in the space industry - you just don't know it yet. Every industry will be impacted by space. The internet would not exist without space-based communication.

There are several revenue streams that are near and present that could support a private space station, including in-space manufacturing, microgravity research, and tourism - for both individuals and sovereign nation astronauts - and in-space supply logistics.

I've become a workaholic. When the shows slow down and there's no press and I can get my time to myself in the studio with my music, I get into this zone, man. I enter this incredible space where I'm just making music. And I feel like I can work with anybody - with Elton John, with Hanson - and I can make something incredible.

I haven't done a lot of studio movies, but studio movies and independent films are always just as fun as each other.

NASA asked me to create meals for the space shuttle. Thai chicken was the favorite. I flew in a fake space shuttle, but I have no desire to go into space after seeing the toilet.

When I started working at NASA and understanding what the capabilities really were of the space station and the space program, one of the biggest draws for me was the ability to do experiments in space. We can do a number of experiments where gravity is actually a variable.

My dad heard of a studio on the radio, and it was advertised as a place for kids to meet kids, and it was actually a studio, and that's where I met my manager and agent.

When you in the studio you don't need everybody calling your phone telling you about what's going on outside the studio. I don't need those distractions.

I have an idea about building almost like a studio for some of the best Tropfest filmmakers, so they can come together and support and be given space and resources they need to tell great stories year around, so it's not just about the festivals. You know, the sky's the limit with this thing, and I'm still making it up as I go along.

I stay in the studio. I'm a studio junkie.

We have said that consciousness is an operation rather than a thing, a repository, or a function. It operates by way of analogy, by way of constructing an analog space with an analog 'I' that can observe that space, and move metaphorically in it. It operates on any reactivity, excerpts relevant aspects, narratizes and conciliates them together in a metaphorical space where such meanings can be manipulated like things in space.

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.

I learned that I could control my life. You are the master of your fate. . . you are the captain of your soul. I took control and went to my space. . . My space. . . the universal energy. . . I tapped into that space of divine flow, where all beings, all things are connected. That space is real. You cannot have a meaningful life without having spiritual self-reflection. Know who you are and why you are here. When you tap into that space, divine flow, that universal energy, you become untouchable in what you are called to do.

The team at the Space Telescope Science Institute has a demonstrated record of meeting the high-performance challenges of operating the Hubble Space Telescope and preparing for the James Webb Space Telescope.

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.

When I was in high school we had the first shuttle launch, and it reinvigorated my enthusiasm for the space program. I was in awe of the space shuttle as such a tremendous machine taking people into space. It seemed like such a wonderful thing that I wanted to be a part of.

When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it.

Basically, most good science in space flight has to do with the behavior of the human body in space. That is where we are lacking info, and where info can only be obtained by flying in space.

If you can design the physical space, the social space, and the information space together to enhance collaborative learning, then that whole milieu turns into a learning technology.

Our studio is in the middle of an oil refinery. There's smoke and fire around it and when you emerge from the studio you hear this hissing sound all around you.

I remember one day going in the studio to sing and then going to work with three separate songwriters before I came back in the studio. I was running on empty.

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 always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.

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.

I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.

Our goal is to develop our studio as a global, multifranchise company while remaining an independent studio.

I think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.

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.

I believe that the manned space program can engage the public by advancing the space frontier. Every next mission takes you farther out in space than you were before, either technologically or in terms of distance.

The strategy of keeping the studio close, like an outbuilding five paces from the house, or in the loft next door, or with the studio on one end and the bed on the other - makes art always available.

You can just reload, propel it and fly again. This is extremely important for revolutionizing access to space because as long as we continue to throw away rockets and space crafts, we will never truly have access to space.

We're using the space station as a test bed for some of the technologies that are going to enable us to work autonomously in space and hit some of our deep-space exploration goals.

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.