Studio Quotes
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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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Getting used to the studio and everything was fun, we freaked about alot. I was working very hard then.
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You know, I do feel as though it’s more of a follow-up. I mean, we recorded this record live and in the fashion that I really wanted to do that first Bash & Pop record, although it didn’t quite turn out as live a record as we planned. The first one, anyway. So this one actually has more of a live rock ‘n’ roll band feel to it. And I really kinda wanted to make a record where I wasn’t wearing too many hats at once and I could actually, you know, capture some of the essence of a rock band playing live together in the studio.
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Musicians today have gotten used to Protools, which I hate. You can go into the studio and not even be a musician, just start beating on stuff and they can take parts out of it, move it around and then you can sound like Slash. If you want some kind of weird feedback effect in the middle of a guitar solo, now they can just fly it in. You don't have to sit there and work at it like you did back in the day.
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A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
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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 a few methods that I use. One of them that kind of works but is a bit a boring is that I lock myself in the studio and I have four hours to work and come up with stuff. If nothing's sticking in four hours, then I can stop.
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You have total freedom. It's like, if you do a solo record, there are no restrictions and you can do whatever you want, good or bad. You can have these passing fancies where you go in to the studio one day and you want to do something like what you did on the way in. That's dangerous. You have to have some sort of focus.
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When I was in the studio with Madonna, we would work 12-hour days. If you want to work with the best, then that's what you have to do.
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It's a continuation. It feels like we were in the studio for 16 years. It was bottled up and this album was an outpouring.
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Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody. I guess that’s the job I do.
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For years, more women were steered toward the studio or toward being a reporter. If that's what you want to do and that's what you love - by all means, go do it. That's OK to be ambitious and do things that are out of the norm if that's the route you want to take. We're already seeing women breaking down those barriers in what was once male-dominated. There are opportunities for women to fill those roles.
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I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.
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There's a million new people in the studio every day creating new stuff so I really had to be on my toes with this one so I could get it out before somebody else could.
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Things are very simple to be honest: when we arrive at the studio for a session, we just get going and let it go naturally and improvise as we go along, this is why it is always so magical when we go into a studio. It is just so natural for us to put a song together.
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We can be in the studio with the hottest producer, but we might not be able to create any magic! It's not about the hottest. It's about who we feel we have that connection with, and that's who we're going to be working with.
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I'm getting in the studio with everybody I've always wanted to work with. That's the amazing thing.
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I like being in a recording studio. I like watching a song go from the simplicity of the original music.
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We go into the studio with the mindset of simply wanting to make something great.
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It's a completely independent atelier and company. We develop the prototypes here. There's a pattern maker, a sample maker, a commercial team, a head of sales, an in-house production team. That's the price of independence. And in the studio I work closely with Sarah-Linh on the collection, and Nao takes care of development.
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I'm not any happier anywhere than when I'm in the studio. I'm over the moon about it. It keeps me young, it keeps me feeling like I have some purpose.
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The hard part was when I went into the studio with co-producer Eric Broucek, and he started slashing my demos. I always sweat that.
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I started on 'Saturday Night Live' the same time Conan started on 'Late Night.' We just had a relationship because I would be upstairs in the studio and whenever he couldn't get a guest - which was often back then since he was just starting out - he would just call me down to be a guest.
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I can’t travel every weekend. I like to spend some weekends at my studio.
