Studio Quotes
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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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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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I think that we're gonna start seeing more and more people who started as a YouTube personality and now have their own studio, and they're gonna start creating things: story-driven stuff, longer-form stuff that people have an opportunity to enjoy.
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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 to collaborate with the moment and the environment. It kind of was magnified by the house being a studio.
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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 sat in my studio and painted, and did not need Nature as a prompter. I only had to immerse myself in myself, pray, and prepare my soul to a state of religious awareness. I painted many, many 'Faces'.
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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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What's working for me is like when I go into the studio, I'm trying to get goosebumps.
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As a frontman I'm going to wear leather pants and get blowjobs in the studio. That would be nice. They are definitely not cool, but I like them. I don't listen to them, but I like them when I hear them on the radio, normally.
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I love the stage more than the studio.
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I like to go into the studio and let things happen. I like to just let the session take on. I don't want to have to clock in at nine and end at eight. That's just not me, that's not how my creativity flows.
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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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I know when I feel good when I play. There's a closeness with musicians you only get from playing live, even in the studio it's still playing live. For me, it's what expands my soul.
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And the general opinion is we are much better on stage than in the studio.
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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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We go into the studio with the mindset of simply wanting to make something great.
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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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I started using this outlet of creativity - you know, going to the studio, writing, meeting these writers and producers - as the best form of representing myself to my fullest potential.
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That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
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"I got used to it quickly, because it's an easier job than what I was doing. I was making four or five films a year, mostly independent films, around the world. Out of the 41 films I've done, maybe seven of them have been studio films, I had an easy gig. So I would go from film to film. And there would be a new crew, new actors, new directors, new producers, new locations, some much worse than others. I'm not complaining about the work; I'm just saying that having a nice trailer on the set, a nice hotel, and a studio and a network behind your show is a lot easier than wondering why your tent is leaking.
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Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
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"Rock Candy" was my first record. I had never been in a studio, so I was in shock and I had no idea if it was great or if it stunk. I was just putting in my heart and soul, and closing my eyes and keeping my fingers crossed. I gave it everything.
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When you're on a daytime drama you get one page, you better damn well know your character. You better know what she would do in every situation because it's a very, very fast paced business. You do ninety pages a day on a Soap Opera. It's insane. It's such a small world, the soaps. It's all contained in one little studio.
