Studio Quotes

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.

Lately I've been a workaholic. I'm in the studio all the time and I've helped to produce a couple of artists.

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.

Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.

What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.

I prefer playing in the studio because you have much more control over things.

I needed an opportunity to get back in the studio and get my recording chops back together.

The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.

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.

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.

My dad and my uncles used to always be in the studio at my house.

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.

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.