Top 1200 Studio Quotes & Sayings - Page 17
Explore popular Studio quotes.
Last updated on November 16, 2024.
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.
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.
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.
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.
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.
People will continue to make movies. But I do think the economic model of the studio movie is closing in on a kind of systemic collapse.
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.
An artist needs the best studio instruction, the most rigorous demands, and the toughest criticism in order to tune up his sensibilities.
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.
YouTube opened up the types of voices and alternative ways of viewing ourselves that would never have been greenlit by a Hollywood studio.
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.
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!
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.
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.
Studio chief Winfield Sheehan wanted me to remain a little girl. If I lost my innocence, he said, it would show in my eyes.
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.
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.
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.
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 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 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.
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.
When I'm working in the studio, I like to be on my own because I don't know where I'm going; I want to be completely free to spend lots of time on songs.
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.
Ive always enjoyed the enthusiasm of the best studio musicians and, over the years, have collected so many inspired contributions from them.
In the studio you can really concentrate on performing the song where as on stage you also have to worry about connecting with so many people, they're definitely different.
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.
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.
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.
One problem with a lot of musicians is that they remove themselves in a studio and make a record and assume people are going to pay attention to it just because they've made it.
When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.
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 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 always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
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.
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.
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.
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.
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 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.
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.
Hopefully, I can play both sides of the fence. That's probably what winning the Oscar gives me, the chance to do something with a studio and do other things that I really want to do.
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.
Technology has very little to do with what I do. I have a purpose built studio but all I need for writing is my piano and a cassette recorder as I still use cassettes.
The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
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.
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 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.
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 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 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.
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 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.
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.
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.
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.
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.
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.
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.
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.
