I like to explore a lot of textural, arrangement aspects in the studio.
I tour more than I need to, more than is good for you. But it's my favorite part of music. I much prefer it to studio work.
For Sony, owning a studio is a gamble and probably a pretty good one, now that in the broadband era having content is a great advantage when you sell devices that in a ubiquitous world of distribution can actually show programs, movies, content directly to the consumer. So that you actually create, in a digital world, real synergy.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
In L.A., I live right across from Universal Studios.
I just want to be in the studio. When you've got all the gear you want in your own house, it's difficult to go out and do something else, you know?
A lot of people think that I grew up in recording studios and knew the whole process, but that was never the case.
There is in every artist's studio a scrap heap of discarded works in which the artist's discipline prevailed against his imagination.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
So when bands work with me and it's 10 o'clock, usually you'd have to be getting out of the studio, we could go on until 2 in the morning cause it's my place!
Being in the studio is okay but sitting in a room by yourself composing is a discipline that takes a certain type of mind set and Tommy has a great gift for that as did the previous guy.
I always admired Walt's optimism. He seemed to know the direction he was going to. When I was at the studio, I remember he kept driving all of us back down to a more fundamental level all the time.
I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.
I think it was probably down to the fact that we weren't together personally as a band. We weren't pulling in the same direction. I always feel if you're having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.
I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.
When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.
My dad and my uncles used to always be in the studio at my house.
There were two practical reasons we moved to Venice. One was that there was an artists movement and a countercultural movement. Lots of people we might want to hire lived in the area. We also wanted to buy in a lower rent area that looked like it was going to be gentrified so that we could eventually sell the studio for more money.
I lived in a studio apartment until my mid-30s. I don't have an extravagant lifestyle.
Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
If this were a [Hollywood] studio film, I wouldn't have pushed my father into a table, I would have beat him up. My father wouldn't have kissed my girlfriend; he would have raped her.
Consider: for all the gobbledegook [film studio] executives spout about backstory, all that we, the audience, want to know is what happens next. That's the only thing that's going on. . . . Character is nothing other than action, and character-driven means The plot stinks, and you'd better hope the star is popular enough to open the movie in spite of it.
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