I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
Perhaps the place to start looking for a credibility gap is not in the offices of the Government in Washington but in the studios of the networks in New York!
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
Nothing in the world can be compared to the human face. It is a land one can never tire of exploring. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently
I think that where it came from and the initial birth of it - it did come out of a jam at Bruno's studio, you know? He was playing drums. And Jeff Bhasker, who co-produced the record with us, is on synths, and I was playing bass.
Dave Guy, the trumpet player, is an incredible musician. He came into the studio one day, and they had just cut a cover of "Sign, Seal, Deliver" for something with Sharon Jones, and I just was blown away by how they got that sonic. I mean, it was just so much the real deal.
I really love something about being around the recording studios - you know, like, those days in the '80s they'd be, like, in the studio 'til 4, 5, 6 in the morning working on these songs.
And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.
I remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.
Just going through a lot in my life, becoming more confident in myself, writing my own music and just really getting in the studio and just doing it.
I have no policy for my collection. For example, there's a bunch of meteorite [on the windowsill in my studio]. I touch it and I feel the energy from the universe. I have a 1/1,000th of a fragment of stone-age tools and pottery and debris. I can learn many things from my collection. Actually, the 1,000 Buddha, I wanted to buy it, but it's a National Treasure, so I couldn't. If you cannot buy it, just photograph it!
There were the days when women were under contract, and they were thought of as a commodity, so they hired the best writers and a lot of them were women at the time. This was in the thirties and forties, to make product for the people who were under contract, who were their assets to the studios. But that doesn't exist anymore - and as a result, the people who are in the industry write products that interest them.
I'm always trying to mentor young women. I speak on college campuses and I have events in my own studio where I open it up to women's groups to learn. I feel really strongly about it.
I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.
I always want to be prepared, 'cause you never know who's going to come to your studio.
I was never actually signed to the label; I was just the annoying rapper that was always around at the studio sessions.
I've done big studio films and the big studio films I've done, I've tried to do the interesting ones and the ones where I could live with myself in the morning.
[Make a sitcom] was really the idea of Executive Producer Joe Roth who owned the property over at Revolution Studios and said he was thinking about taking it to TV. And after he said that he already had [writer/director] Ali Leroi on board, and that he was going after Terry Crews, to me it was a no-brainer. I said, "Let's put this together!"
While I had done the movies through Revolution Studios, we own the sitcom. It was a situation where, once the team was assembled, I knew we could create something really, really good.
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.
Sometimes I do, sometimes I don't. But while I'm doing vocal in a studio, I can't stand it.
I'm very critiqueful of my own stuff, and I kick everybody out the studio when I'm singing, no one is in the studio, it's just me and the engineers, no one else in the studio when I'm doing my thing.
I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
I had been working at home at the time and was looking to find a studio space somewhere outside of my apartment. I thought that might be good for me in terms of having a little bit more discipline with my work habits.
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