Studio Quotes

I mean there are tons of reasons. Well first of all. I write my own record. I don't take other people's materials. And I have a job which is being Willa Ford on top of getting back in the studio and writing and recording.

The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.

There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.

With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I'm teeming with the drive to write.

If we were truly in the studio making a record, it would have been more time consuming, and certainly I would have been more involved in the writing process.

You read a lot about movies with budgets of $25 to 30 million. Hell, if a studio can piss away that kind of money, why not let 'em piss on me?

But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.

I don't think that a company should own a studio and the network, and program for their own network. It hurts the creativity - it is not a level playing field.

The studio have always claimed that the ship is the star of the show, especially when they're renegotiating contracts.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.

Why are we talking about talking? Why negotiating about negotiating? It's very simple. If you want to get to peace, put all your preconditions on the side, sit down opposite a table, not in a studio, by the way.

And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.

I am always locked in my design studio.

Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.

Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.

I've always said I'm not the kind of designer who likes to lock himself away in a studio and let the rest of the company deal with it. I work very closely with everyone on the team.

I'm working on a snow scene right now, and it's summer. It's hot, and I will get chilly. I'll have to turn on the heat. My wife walks in, and it's 95 degrees in the studio. I know it's nutty, but it's a projection you have where you step into the painting.

If you can play well in the studio, you can play well on stage.

I'm an artist, and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does, you know, the press, and figuring out shows and whatnot. When it comes to my artistic freedom, he doesn't, like, step on my toes or anything.

The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.

I walk into the studio and we're all so happy to see each other.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.

And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. I always felt it was better on the White one for me. We were more like a band, you know.

I thought I was attractive when I shot 'My Big Fat Greek Wedding.' Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them.

I only made two studio movies, that was a long time ago and obviously I removed myself. I think some of that is geographical. I live in New York and I want to work there, it's as simple as that.

Berry Gordy turned his house into a studio and discovered over 30 acts in the city. And we're famous all over the world.

The thing with me. I can't stick musicians. I've thought about this. I can't stand them, and being stuck in a studio with them I think that's my strength I can hear what they can't.