Studio Quotes

I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.

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 like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.

I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.

Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.

I used to sit near Marilyn Monroe in the Actor's Studio. She'd get dressed up because that was her identity. Sad. Those cameras wouldn't leave her alone. She didn't know where to hide.

It's a privilege to serve the poor, to be servants of noble Africans, but I better belong in the rehearsal room or in the studio with my band. That's where I want to be and I still wake up in the morning with melodies in my head.

When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.

I met Jack Bruce, one of my heroes, in a studio while doing some recording. England had just beat Scotland in a big football match and I saw Jack trying to break into this refrigerator in the lounge, drunk out of his brain, and I didn't know what to say.

But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.

Just writing and being in the studio was like therapy for me.

Walt gave me a VIP tour of the studio. I remember people doing voices.

Actually, because of new technologies, my full studio is on my laptop. And I have a little keyboard in my bag. 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.

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

In the studio the director controls the actor's every move, every inflection, every expression.

I got out of high school, bought a recording studio and started operating it as an engineer and a producer.

Even up here on Vancouver on the weekends, I go work out in a studio space.

Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.

When you do a writing job for a studio, one of the things you want to do is satisfy the expectations of your employer. That's a little bit different than when you sit down and write something to satisfy yourself, because then you're the employer.

I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.

My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.

If you think of movie studio executives, say, as society, then I root for the independent producers.

For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.

I do a lot of performing, but don't get a chance to go to the studio and write good music.

When I get in the studio the idea is just to work and bang out as many as I can.

I've been messing around in the studio the last couple of years. But I don't want to worry about being taken seriously as a singer. It just really feels good to do it.

Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.

The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.

Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.