Quotes About Studio

The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.

We're gonna release a studio album probably a year from now and we've got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry's piano player.

When we arrive at the studio, we put the kettle on, have a cup of tea, say, 'How's the family? You still got that old car? Is that dog still alive?' and then we start jamming. That's how the songs get written.

Most of my teachers didn't like me. I didn't get good grades because I pretty much lived at the public access studio. I tried to be the class clown, so I spent a lot of time in detention.

In the marathon obstacle course of a career, it's just good to have all the stats on paper for why you're not only a team player but also why it makes sense to support you in the projects you want to do - because you've made so much damned money for the studio.

And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. I always felt it was better on the White one for me. We were more like a band, you know.

But Ram was mostly recorded in NYC, in a top-dollar studio during nine-to-five business hours, with two sidemen he'd never met before. It was a professional approach to music designed to sound unprofessional. It worked, too, with Hugh McCracken playing that great guitar break in "Too Many People." (My favorite McCracken solo, except maybe Steely Dan's "Hey Nineteen.") For Paul, country life meant stretching himself. He kept featuring

I look forward to the future - and going into the studio to make new music.

The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.

I looked at films as a career from necessity but all I have really wanted is my home and children. The two things just do not work out together when one has to leave home at 5.30 am in the morning to go to the studio.

The idea of taking a song, envisioning the overall sound in my head and then bringing the arrangement to life in the studio...well, that gives me satisfaction like nothing else.

Gable suited MGM because Gable was larger than life. Cagney suited Warner Brothers because Cagney was life.

You have to have at least some kind of baseline coverage under the studio lights. It's not like normal makeup; it's like walking around with a wet coat of paint on your face.

When I get my music mixed, I'm actually in the studio with the engineer, every project I've ever put out. So it's supposed to always say mixed by whatever engineer I use and Dolph.

I'm an artist, and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does, you know, the press, and figuring out shows and whatnot. When it comes to my artistic freedom, he doesn't, like, step on my toes or anything.

In 'A Room With a View' there's a lovely scene with Julian Sands and Helena Bonham-Carter in a wheat field. It was simply the right time of day: late afternoon, that golden light, wheat and poppies... So romantic. But I had no idea it would turn out that well, since we so rarely shoot in a studio.

With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.

I started on 'Saturday Night Live' the same time Conan started on Late Night. We just had a relationship because I would be upstairs in the studio and whenever he couldn't get a guest - which was often back then since he was just starting out - he would just call me down to be a guest.

I'm always looking to develop my sound and I'm in the studio whenever I have the time to do this. Always looking ahead!

A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

Trent likes to record guitars direct, whereas I've always preferred playing through an amplifier.

I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.

I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.