Quotes About Studio

New York apartments are notoriously small, and my cute little studio is no exception - space is at a premium, which is one of the reasons that I only have a mini-fridge. Great for leftovers, cheese, and chilling Diet Coke.

I do see a lot of young artists who write records or sacrifice records, because there are a lot of older artists who are preoccupied; they don't have as much time as they used to to be in the studio.

I often find there's an equal benefit to being in a comfortable, well rested studio session, but also the more pressured headspace of being in an airport or working at 7 A.M., fresh from the club with the music still ringing in your ears.

When I was making 'Marjaavan,' I was asked why are you making this dated film. But we have to offer films for all audience and not only class audience. As a studio I have to balance it out.

The accomplishment that I am most proud of is that 'Free Willy' and 'Dave' got a political message out, which isn't easy to do within the constraints of studio moviemaking.

Sammy Davis Jr. was a real movie buff who loved nothing better than being around a film studio - whether he was working or not.

My day job is that I write songs for other artists and if I'm not on the road I'm in my studio.

It's nice to film in somewhere that you actually love being. Usually, you're in a studio for months on end, and you never see any daylight, so you really make the most of it.

I first started coming to Ibiza as a DJ; my debut set was at Sankeys with Duke Dumont. I wasn't really in the clubs, though, to be honest - I was mainly in the studio working.

When you're working on a Marvel movie, their legal department do not play.

When I'm in the studio, I'm very cautious about it because if there's one thing that can destroy music being made, it's any sort of agenda, expectation and/or schedule, or any of that.

Doing studio shows... you don't get the details of the league.

When I was 12, I was doing competitive jazz, tap and ballet in Michigan. The studio put the best dancers together, and I joined that. We always did really, really well in local competitions.

I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

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.

Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.

A lot of the gear came out of some of the old studios here in New York City. We picked up a lot of old microphones, reverb tanks, tape machines, so yeah, we try to record the old way, which takes more time and energy, but it certainly feels better when you're getting to the end of the process of making a record.

I'm in the studio 24 hours a day. It's true that once you get a certain level of success, you become a target. Talk magazine should be ashamed of themselves.

My generation of playwrights have grown up writing for studio theatres, and so the task of writing for more than ten or so actors is a huge challenge. Logistically, it's like doing an enormous Sudoku. Making sure everyone is in the right place at the right time in the right order instantly sends me into a cold sweat.

My taste changes radically all the time, and I listen to whatever feels good. Another thing is that I'm in the studio so much of the time, and I listen to so much loud, aggressive music for work, that for pleasure, I'll listen to something else.

I moved to L.A. after my landlord in Brooklyn tripled my rent. I spent months looking for other places to move to in New York, then one day I was in California eating a grapefruit, and I was like, 'This is what they taste like?' So I decided to move to L.A. and build a studio in my house.

With 'Aja,' there was a sort of happy conjunction between our tastes and the backgrounds and styles of studio musicians at the time.

Tax rates aren't everything with regard to incentives to work. I would probably work at a 100% tax rate next to a nude modeling studio. I'm joking, but you know what I'm saying. There's a lot more to it than just tax rates. It's economics that I do; I don't do nude modeling studio economics. People do respond to taxes.