Quotes About Studio

I had done another show called 'United States of Cars,' which was a pilot that didn't get picked up. And they said, 'You know, we're doing 'Top Gear,' and would you like to meet the guys?' It was the wild - most wild audition I ever had because I never went to a studio or a producer's office.

We're actually thinking about distributing 'Moon Over Broadway' on-line. It's tempting, because when you go to a major studio, it's sort of like a farm, you know? They make all the money, since it's kind of a buyer's market.

When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.

My brother, who's ten years younger than me, worked with me in the studio when he was very young. He's a guitar player and does programming as well. To have the working and personal relationship coincide has been very natural.

I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent features is that they are hard to sell.

A movie studio has to answer to a marketing department, and to shareholders, to ensure the broadest audience possible for its product; it tends to err on the side of caution as a result.

So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.

I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.

In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.

When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.

There were times at the start of it all when I would be standing, terrified, in front of the cameras and people I considered 'real' actors. I had no idea what was happening, what the guy with the clipboard did, or if people in the studio were looking at me because it was their job to look at me or because they thought I was making a mess of things.

I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

I worked three and then six hours a day in my studio with strict discipline and emotion. I obtained awards usually granted to other foreigners during the end-of-year admission tests.

Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.

I hated to see the life go out of a warm, living creature and I declined to be present. Picking up a book at random, I sat down in the studio to read. Alas! I had found The King in Yellow.

I'd probably want some good compressors, like a couple of Avalons or a couple of the Urei LA-3A's, and perhaps a Pultec EQ.

Bob Clearmountain's Mix This! Studio Equipment List Dynamic processing: UREI 1178 Stereo Compressor—Fantastic, but old and cranky; difficult to recall. Focusrite Red 3 Stereo Compressor—Sounds and looks good but noisy and hard to recall; could use control markings. UREI LA-3A Compressor—Classic and transparent on vocals; modified for low noise. Empirical Labs

SSL FXG384 Outboard Stereo Compressor—Same as in the G-Series Console; great for piano or submixed drums. Avalon AD2044 Stereo Compressor—Great on bass and guitars; difficult to recall. BSS DPR-901 Dynamic Equalizer—For vocals, it's like cheating! DBX 902 De-Esser—Quite handy, but not for lead vocals. Drawmer DS-201 Dual Gate—Great problem-solvers.

Studio people are idiots. Until they see someone else doing it and make a success of it, they don't open their minds. Most of them are idiots.

None of the other Beatles attended. Just as Paul and Linda were exchanging vows, George was being arrested for drug possession at his own home. He attended the reception. John and Yoko were in the studio completing their second joint LP, Unfinished Music No. 2—Life with the Lions. And Ringo Starr was filming The Magic Christian, with Peter Sellers. No other Beatles were present eight days later, when John married Yoko Ono in Gibraltar.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I'm teeming with the drive to write.