Quotes About Creativity

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.

I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.

I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.

That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.

The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.

I want to make 20, 30, 50 studio records.

My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.

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

Just when I think I hate fashion, I hate clothes, I'm seized by this crazy thing that I have to do. I have this little studio now where I just draw. I can be in the room for three days and not even look up.

Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.

I have only one loyalty - to my writing. I never wanted to be the head of a studio or a producer.

I'm not a guy to go in the studio and spend months, let alone years, like some people do. I cannot even be in the studio for a month, it will drive me nuts.

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

We've been working with the very best in the business. The studio really just let us alone to make the films.

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.

It's hard to know exactly what it sounds like to me. I'm in the studio and I write it. and that's it.

People tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.

I've just built a studio in my mama's old bedroom, which I thought was fitting; she died last year. We've recorded nine songs recorded in there already; we're sort of just chipping away.

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.

When I get in the studio the idea is just to work and bang out as many as I can.

I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.

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.

I do real paintings, you know. I'm a little messy in the studio, so I'm a bit of a danger. But I just adore it.