Studios Quotes
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I work very hard on getting the songs as direct and examined as I can before I go in the studio.
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I feel that puttin' in the hours and years in the studio, honing my craft, definitely played a part, me consciously networking and presenting myself as an artist that's commercially sellable led to me meeting the right people, which in turn led to them givin' me positive referrals to other people, which in turn led to me signin' a deal.
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The internet seems to be what a lot of independent bands are doing these days. They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.
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My ideas come when I least expect it, so I've always got to have a studio nearby or close by somewhere.
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I look forward to the future - and going into the studio to make new music.
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It is not about whether you are an executive, a studio or a network. If you have a story or an idea you can build a following for it.
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Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
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I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
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I lived in Boston for four or five years and would commute to New York to play gigs. New York City became so expensive, all the recording studios started shutting down because they couldn't afford rent anymore.
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Some friends and I, we went right up there behind the studio and we got on a train, we could tell it was going to go to Roseville. We got off it and got on another train. And we got to Roseville, and it takes hours to get through that yard. It's really big. So we ended up just coming back here. It's like fishing or hunting. You can't always come back with something.
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You write a screenplay and then everybody is going to want to get in on it and we have to figure that out. I've written three screenplays that are at studios and I still haven't been making them yet so there is always something that is either going to trip something up or maybe get another pass.
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You knew everybody at all the studios and you saw them often.
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In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.
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I can never remember what I do even in the studio.
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That's what I strive for every time I'm in the studio, to make sure that y'all love it and that I'm not giving y'all something I'm expecting you to buy. I want y'all to want to buy it and want to hear it again. If you like it, go get it, if you don't, throw it out.
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I always loved music and I always loved to perform, and that's my favorite part, to perform; my favorite part is not the studio, I can't stand the studio.
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I was scared every time I put on a uniform and stepped on the field. I’m scared every day I go into the studio and I come on stage because I fear that I will not live up to what is expected. I fear that somebody who spent a lot of money to come into our studio, to come to New York and they’ll walk away and go, ‘I could have stayed at home.’ I feared that as a player a fan would come to the stands and I wouldn’t perform well. Just the way I’m built. I’m more scared of failure than I am excited about the accolades that come with success.
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In the studio, if they need to come down to the floor, things are a bit pushy, although it is easier for them to say things directly rather than through about five people.
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When we are in our studios, in our private space... we need to block out the outside world; we need to disbelieve anything that would doubt us, because - everyone will doubt us if we allow them that space.
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I always say that candy is the perfect studio food - it keeps your energy going.
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I don't think an NC-17 rating is the kiss of death. Nor do I think that, in the hands of the right filmmakers, studios have a preconceived notion to pass on NC-17 material.
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I don't think anybody at the major studios is rushing to offer me a romantic lead.
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I cannot tell you how many people, powerful people, come to my studio and they are in tears they are so moved by what they see.
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In order to be artists we need to be in our studios, in our private rooms... in our private personal space... that sacred protected space, so we can make our work. That's the only work that's worth making, right? That's the place where we can be free enough and vulnerable enough to share what we have to share.
