Studio Quotes
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"I've always thought there was this underlying thing in Paul's "Get Back." When we were in the studio recording it, every time he sang the line "Get back to where you once belonged," he'd look at Yoko."
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My studio works in cycles. I am consistent with all of the practices, but I give attention to one part for a certain amount of time. I say, "Okay, I'm making performances," and sometimes that means I can't be making photographic works. As I'm maturing as an artist, years have passed and I feel that I'm becoming a better craftsperson in multiple fields, but that takes time. Also, because I trained as an actor, I hold this thing about how an actor prepares and therefore I try to prepare for all of my tasks.
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Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
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I started out with the guitar and was a studio musician back in the 50s, and then got shot in my finger.
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The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording studio, I would often lie down to nap and wake up with harmony parts fully formed in my mind, ready to be recorded. I think of music as dreaming in sound.
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It's good to wander into the studio and walk out with something that's better than you'd imagined it to be. If everything was as you imagined it to be, it just wouldn't be as much fun.
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I was lucky enough to be down at the studio the day John Paul Jones came down.
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I have a thousand melodies in my head, but I don't write them all down. I write down the jewels. So when I have a jewel I go into the studio. Jewels are hard to find--you have to dig.
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You don't always do the same things you've done the night before. That's what makes playing live so interesting as opposed to being in the studio.
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I haven't felt compelled to go back in the studio and do anything serious. I have a little sort of home studio thing which I potter about in occasionally.
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Eventually, when I sell enough units, as they say in the record business, I will stop touring. I'll concentrate on what I like to do... stay in the studio.
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The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.
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I don't practice. It's a gift. It's talent. Obviously, I do it all the time so it's like I'm practicing, but that's just what I do. Sometimes I'll be in the studio flipping through beats and I'll do something quick and people will be like, "What the?!" It's natural! I don't need to be nice like that, I just do it.
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A powerful studio boss doesn't want to be bested by a woman, even in chess. And a successful agent steps on a lot of toes. You lose actors jobs so you can get them for your own clients.
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We work together a lot. So we don't really sit around after five days in the studio. We've got families, so we all like to be home when we can. We're not into any rock-star lifestyle or partying or clubbing or anything. We've generally seen enough of each other by the end of the week.
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Day and night I try, in my studio with its six two-thousand watt suns, balancing between the extremes of the impossible, to shake loose the real from the unreal, to give visions body, to penetrate into unknown transparencies.
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I go in and out of the studio in sporadic periods, I don't go in there for hours on end. I'm looking for that initial vibe, be it from a beat, a sound, a loop, whatever. Nothing is planned, nothig is deliberate.
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I don't have any desire to go back into the studio, and I certainly don't have any desire to go back on the road.
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In the studio the director controls the actor's every move, every inflection, every expression.
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When it comes to the music making, that's when we completely are open and just let anything go down in the studio. It's nice to go with whatever's happening. It's really important to just let the music come out of you.
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The teams that worked on the innovative distribution of 'The Interview' are just a few of the many that put in long hours over our studio holiday to ensure business continuity, rebuild our systems, and protect our company.
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We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
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I've delved into a lot of non-musical projects. Learning new things and accomplishing things with my hands that I put aside as an adult to devote all my time to music. As I've gotten older, I've been concentrating on quality and no filler, and spending more time constructing all of the parts of music, rather than going into the studio with one or two parts and then letting the rest work itself out.
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I have got important quotes in my life written on my wall in my studio in big handwriting three inches tall which I sometimes look up and read.
