Studio Quotes

I started off as a studio pianist in Hollywood.

I was put under contract. A major studio. I got nominated for an Academy Award. Isn't that ridiculous? I mean, at the age of 18!

All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.

I've never really had a problem with the imagination level of an audience. They're always smarter and savvier than any studio exec will give them credit for.

Well, the Empire State was about 40' high in the studio. King Kong was a little model about 2' high, and the scenery that he worked in was in proportion to his size.

Bantam Press. And they commissioned me to write it. And when that was completed, they sold it to Harper and Row. And then I put it out to every movie studio in town. And they all turned it down.

I told them if were going to do it were going to do it right, I'm not leaving 'til it's done. My wife, child and I slept in the studio. We cut these raw.

I went from a guy, kind of a working actor, a supporting player, to magazine covers and being offered the studio pictures really quickly. Nobody was comfortable with it. I wasn't really comfortable with it.

That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.

I wake up every morning and I feel like I'm juggling glass balls. I live in Los Angeles, my business is run out of London, and most evenings I'm cuddled up in front of Skype, in my dressing gown, speaking with my studio in London. I travel a lot, my team travel a lot, but I wouldn't have it any other way.

Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.

It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.

I like to explore a lot of textural, arrangement aspects in the studio.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

It's hard to know exactly what it sounds like to me. I'm in the studio and I write it. and that's it.

The moment I got a very big studio, everything took off.

I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.

I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.

I learned so much about playing and touring being on the road and in the studio with Jeff, but I'd always played a lot of gigs in Seattle even prior to joining the Fusion.

And going into my studio at night, particularly at night when everybody's asleep, is just a total pleasure for me.

It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.

Today, it's very tempting to create songs by cutting and pasting in the studio.

I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.

And no again: My studio is not a first or any step toward becoming any type of businessman on my part.

Music itself is a great source of relaxation. Parts of it anyway. Working in the studio, that's not relaxing, but playing an instrument that I don't know how to play is unbelievably relaxing, because I don't have any pressure on me.

Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.

I lived with them in my studio in New York. And of course if I were doing that book today or even ten years, fifteen years later, I would have gone to where the wild ducks were and where I could study them - I would have gone to the country somewhere.

Singing is something that I'm always happy to do it and going in the studio I never felt any pressure. I just feel like I get to sing, you know. It's fun.