Studios Quotes - Page 2

• I'm fortunate enough to get to make books for a living, so I spend my entire workday alone in my studio quietly doing my favorite thing in the world. When I need a break from that, it's usually because I'm desperate to see other human beings again!

  Vera Brosgol

  Book, Needs, World

  "Five questions for Vera Brosgol". Interview with Elissa Gershowitz and Katie Bircher, www.hbook.com. September 12, 2016.

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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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• 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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• 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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• 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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• 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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• I'm a quiet person, I'm not a flashy art world person. I'm in the studio in the middle of nowhere. There's sheep and fields. The work has to be authentic in that way.

  Nigel Cooke

  Art, Sheep, Middle Of Nowhere

  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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• I do enjoy that folks [ Howard Ashman, Tim Rice and Chad Beguelin] really get into [ Aladdin ] because I enjoy getting it. I love it where you just get to go nuts. Ninety percent of what you hear, he wrote. There's ten percent that he let me play around with in the studio and actually put in the script if it was funny enough.

  James Monroe Iglehart

  Nuts, Play, Scripts

  Source: www.blackfilm.com

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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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• 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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• This problem [of historical opportunities] compounds itself by limiting the number of people in the pipeline to attain the experience to do larger movies or get jobs so they can familiarize themselves with a studio head and get the opportunity to deliver and impress - or maybe direct a smaller movie. It will take a considerable amount of time to rectify. It's very difficult because it starts at the top.

  Joe Robert Cole

  Jobs, Opportunity, Numbers

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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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• 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 realized that the studios didn't really understand their own system.

  George Hamilton

  I Realized

  "Tanned ambitions: Hamilton reflects on Hollywood career and new film 'The Congressman'". Interview with Eric Althoff, www.washingtontimes.com. September 7, 2016.

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• We don't have a studio, we don't have a radio station, we don't have anybody breathing down our necks to make a budget. We don't have any benchmarks that we have to hit. Our benchmarks are ones that we have set.

  Nikka Graff Lanzarone

  Breathing, Radio, Necks

  "BWW Interview: The Ensemblist Podcast Returns for a Second Season". Interview with Ashlee Latimer, www.broadwayworld.com. September 4, 2016.

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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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• 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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• 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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• 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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• 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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• 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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• My studio is right on the ocean, and the sun rises right in my eyes every morning, and the energy of the sea is right there.

  Suzanne Ciani

  Morning, Ocean, Eye

  "Orchestrating The Sunrise: Kaitlyn Aurelia Smith & Suzanne Ciani Interviewed". Interview with Danny Riley, thequietus.com. September 13, 2016.

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• Being able to interact with [studio president] Kevin Feige and have him know who I am and know me as a person, and be able to then sit down and have a conversation about story with someone who's familiar and comfortable is invaluable.

  Joe Robert Cole

  Who I Am, President, Kevin

  Source: www.motherjones.com

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• I was never like, "Oh man, I want a Grammy and I'll do whatever it takes". Someone like that might not do what it takes to have a decent touring career, because they're in the studio trying to master whatever they're doing to win a Grammy.

  Vince Staples

  Winning, Men, Careers

  "Vince Staples Talks About Prima Donna, Celebrity & Frank Ocean". Interview with Highsnobiety, www.highsnobiety.com.

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