The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.
I had improvised a lot in classes and at the Actors Studio, but I never did it in front of the camera.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.
The heads of the studios, like Louis B. Mayer, didn't want to create any more musical stars. So Bobby [Fosse] left and went to New York City to be a choreographer, and created brilliant work.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
One day, I just decided I'm ready to go. So I went down with my guitar and sat on the front steps of Sam Phillips recording studio.
Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.
I find that I have done a pretty good job of fusing all three of them so far and I intend to get better at my craft. This is the reason why I am always eager to learn new stuff, especially from those who are more experienced than me. I am like a sponge. My ultimate goal is to open an animation studio in St. Lucia.
I had full access to the material, and had a great relationship with Sean Bailey, the president of Disney productions. He really guided me through the licensing process of the footage. I made presentations to the various departments at the studio, and they were moved by Owen's [Suskind] story.
Success for me is just having a job and have the studio feel confident that I can go out there and make a movie that people will enjoy.
When studio art started being seen as important, I joined Colab, and then I became very involved.
My little boy (Sasha) is now one-year-old and that makes it easier for me to go back to the studio and work on creating new music.
All my stuff is pretty seamless - like now, while I'm touring [Yesterday I Sang The Blues], today I'm going to go in the studio, I'm writing my next one. For me it's continual.
[Maxine Waters] was kind enough to join us here at our studios in Washington, D.C., in advance of women's march in Washington in which she will be participating.
I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.
If I was at the Comedy Cellar at midnight you yelled at the back of the room. But you, for television, play it to the camera because yes you're communicating to the people at home using the studio audience that's right in front of you as a guide for that.
It's dedicating yourself to your craft. Spending thousands of hours in a studio learning how to write a song, learning how to play different chords, training yourself to sing. You know, to get better and better.
At one time in the mid-'70s I became the president of the Boston-Cambridge chapter of the World Future Society. Because I'd been in my studio by myself since 1968 on up. And the thing is that my social life consisted of being involved in organizations like that. I would get people to come and speak, and speak myself and that kind of stuff.
In the States it's more and more difficult to get an independent film off the ground, and you certainly wont get the opportunity to play something like that in a studio movie.
Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.
You find this watered-down enlightenment sold in mass quantity at yoga studios, high-priced shamanism retreats, DJ-fueled Ecstatic Dance parties, ayahuasca ceremonies, and self-empowerment seminars. There's a hope for a quick fix - if only we have the money and right drugs for it.
I've worked with a lot of people and I like to play with people when it's fun, and people that I have fun with independent of music, do you know what I mean? Where you can just joke and kid around, because you can joke and kid around with somebody and when you get in the pressure cooker of the studio then you can it's just something.
I push my own limits every day, every moment - in the studio, on the stage and beyond so it's truly a genuine fit.
Every Thursday or something, my mother would shoot it at NBC Studios at Rockefeller Center. And sometimes she would have me there when Morris The Cat was on, and Lassie was on.
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