Quotes About Innovation

For more than 10 years, Daniel Snaith has been playing mad scientist with pop and psychedelic music. As Manitoba, and more recently as Caribou, he's pushed the genres' limits with electronics and studio trickery.

I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.

There are times pop music is the end result when I'm in the studio, but I don't really go in and say, 'Today I am going to make a pop song,' but it can happen.

Working improvisationally in my studio with dancers, it's completely different. We don't have any starting point; we don't have an end point. We don't have anything we are trying to show or do. The picture evolves from nowhere.

I like to explore a lot of textural, arrangement aspects in the studio.

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.

Our goal is to develop our studio as a global, multifranchise company while remaining an independent studio.

I just go in the studio and write on the spot and see what comes out.

There was absolutely no intention of splitting up. We had so many great ideas to use on the new album. John Paul Jones was incredible, coming to the studio each day with new instruments to play.

All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

What producers did was mostly recording in the studio, so it never changed our sound just that much.

I have a rough idea when I walk into a studio though.

The thing that's characteristic of my performance is that I literally do drag the whole studio onto the stage.

Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.

After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.

I like the gritty parts of fashion, the design, the studio, the pictures.

The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.

There are a lot of characters that you can get into that don't exist in the studio world.

If you want a studio to back you, you want to be doing something that's been done to death!

I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. I found a way of working which pleased me because I didn't have to frighten people with heavy equipment. It was that little black box and me and £5 worth of film in my pocket or maybe it was only £2 in those days.

Honestly, most of the stuff I made for 'TV on the Radio,' I write in the studio.

Ke$ha is her art; there is no curtain you peel back to find the real person. And with Ke$ha, you never know what to expect when you're in the studio.

When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.