The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
I suspect that a lot of studio executives still think of me as 'what's-his-name'.
I have my dream job! As a young person training as an actor, walking on the WB studio lot is a dream in itself.
I have real TV studios. If I have an idea, I can go shoot it. I can experiment. If I choose to air it or not, it's at my discretion. I don't have to do it to somebody else's time frame.
I used to record but just in my own studio or in my friend's back when I toyed with the idea of being a rapper.
That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.
Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.
The crew members for 'The Price Is Right' at night are the same guys who work 'Y&R' during the day. It's even in the same studio. I've been in the place for 15 years. So all the faces at 'The Price Is Right' are familiar.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
I think I was very lucky to have grown up with an artist's studio in the house. It was a kind of life that was possible. Yeah, it made it kind of harder because the standards were higher, but there was no pressure.
If you come every day or every month to my studio, you won't see that much change, but if you come once a year, you'll see big new categories opened up.
I think especially in a world where you have so little say about what goes on in your life, or in the politics of the world around you, it is wonderful to go into that studio, and tell yourself what to do.
I would like to see more Bollywood films! The more stylized musicals are a new trend in the U.S. We are beginning to make musicals again after a long break, practically since the days of the studio structure, so perhaps we can learn a few things from Bollywood about this fun style of film-making.
I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.
I have studios in the different places where I live - in Ibiza, Paris and London - but they're not crazy studios, they're just rooms with good monitors, and all I do is plug my laptop in. It's a different way to make music, but for me, I love it, because it's more connected to the world.
I write in the studio.
I'm glowing in the dark with my studio tan. I've been in a cave of music for months and months and months.
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