Studios Quotes - Page 2

• I really like to be alone. It's nearly like being naked in the studio, and if someone were to walk in, that wouldn't feel good.

  Trentemøller

  Feel Good, Naked, Walks

  Source: www.interviewmagazine.com

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• If I was writing a song one night, I would leave the studio and come back the next day, and if I could remember the same melody on the same song, it was definitely something worth working more on. If I couldn't remember it, maybe there was a purpose about that.

  Trentemøller

  Song, Writing, Night

  Source: www.interviewmagazine.com

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• Because I'm in a modern studio, there are so many possibilities - you can do so much. So it's sometimes a little bit confusing for me to actually see which way should I choose.

  Trentemøller

  Confusing, Littles, Way

  Source: www.interviewmagazine.com

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• I don't require that the main guest [of StarTalk] have any science knowledge or background at all. It's just, I have a conversation with them, it's long and winding, and we find out what parts of what we learn about the person lend themselves to further scientific discussion with an expert who is brought into the studio. So that's how that comes together.

  Neil deGrasse Tyson

  Long, Together, Experts

  Source: www.avclub.com

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• Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.

  Curtis Hanson

  Writing, Scripts, Goes On

  Source: www.avclub.com

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• Now, grosses are listed in the newspapers and on television like it's a sporting event. It's ridiculous, because when you're watching a movie, unless you're an investor in the movie or a stockholder in the studio, what do you care how much it's grossing or how much it cost or any of that stuff?

  Curtis Hanson

  Events, Cost, Television

  Source: www.avclub.com

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• When I was born, they didn't work. They're broken, the nerves in my lower left lip. When I was kid, I would talk out of the side of my face. When I was 16 and came up to Hollywood from Orange County, I was in this cattle call audition for Batman and Robin at Warner Bros., and they interviewed me out front of the studio. When I got home, I was like, "Oh, this was exciting!" But then when I watched the news, I was like, "Mom, what is wrong with my mouth?!"

  Milo Ventimiglia

  Mom, Kids, Home

  Source: www.glamour.com

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• In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could.

  Michael Craig-Martin

  Numbers, Work Out, Long

  Source: www.artzip.org

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• I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.

  Kehinde Wiley

  New York, Artist, Museums

  Source: www.aaa.si.edu

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• It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.

  Kehinde Wiley

  Art, Book, Mean

  Source: www.aaa.si.edu

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• My peers at the time: you know, young black kids from off the streets of Harlem, having these conversations with me in my small, dirty little studio up in Harlem.

  Kehinde Wiley

  Dirty, Kids, Black

  Source: www.aaa.si.edu

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• Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.

  Kehinde Wiley

  Yale, Stronger, Groups

  Source: www.aaa.si.edu

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• When I went to the Studio Museum in Harlem, there was a type of freedom that existed where I didn't have to think about professors, where I didn't have to think about much of anything other than my own practice.

  Kehinde Wiley

  Thinking, Practice, Museums

  Source: www.aaa.si.edu

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• I think that once you're able to sort of get in line with who and how you relate to the world, you'll become closer to this index that I'm referring to. Because what you want is this card that relates to that book. What you want is this human that relates to this world, rather than having this art school society scattering that point of view somewhere in between. It becomes diffused. And that level of clarity, I think, was gained at the Studio Museum in Harlem.

  Kehinde Wiley

  Art, Book, School

  Source: www.aaa.si.edu

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• I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.

  Kehinde Wiley

  Art, New York, Sleep

  Source: www.aaa.si.edu

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• In the Studio Museum in Harlem, when I was dealing with that community and dealing with my peers in the streets, it allowed for me to get outside of Yale, to get outside of art-speak, and to really think about art as a material practice that has very useful and pragmatic material precedent.

  Kehinde Wiley

  Art, Thinking, Yale

  Source: www.aaa.si.edu

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• My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.

  Kehinde Wiley

  Artist, Practice, Want

  Source: www.aaa.si.edu

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• There's a team of filmmakers who follow me in the streets when I'm finding these models, to give me a sense of legitimacy to a casual stranger. This is New York City. No one's going to follow you back to your studio.

  Kehinde Wiley

  New York, Team, Cities

  Source: www.aaa.si.edu

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• Whereas I remember being in Dakar, in Senegal, where I have my third studio, and street casting, and I remember looking at the faces of the young men that we were speaking to through translators and so on, showing them the books. Complete - completely different response.

  Kehinde Wiley

  Book, Men, Faces

  Source: www.aaa.si.edu

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• There are just so many different types of people that come into my studio, and secondarily, there's the idea of ideation, like, "Who are you and what do you see in yourself in this other person?" So many different people that you would see so many different things.

  Kehinde Wiley

  Ideas, People, Different

  Source: www.aaa.si.edu

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• Warner Bros. is really open-minded, as far as studios go, when it comes to the types of movies they'll entertain, even with animated movies. It's a great place to be.

  Doug Sweetland

  Open Minded, Bros, Type

  Source: collider.com

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• After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.

  Robert Benton

  Photography, War, Differences

  Source: classic.esquire.com

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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.

  Nipsey Hussle

  Artist, Years, People

  Source: djbooth.net

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• We do not want to repeat ourselves [in Doctor Strange] or do what's been done before necessarily, and when you have a track record now you can either do that and keep, this seems to work and let's keep doing this - which some people accuse us of no matter what, because I don't think they pay attention, but really what we do is say, 'Okay, we have a studio that trusts us and let's us do what we want for the most part with the creative.

  Kevin Feige

  Thinking, Doctors, People

  Source: screenrant.com

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• Ballet is number one, everything else is scheduled in the small windows when I'm not in the studio taking class, rehearsing, on stage or on tour.

  Misty Copeland

  Class, Numbers, Ballet

  Source: littletownshoes.me

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