Quotes About Studio

I drive everybody crazy when I go into hiding to record... managers, the label, everybody!

The highest admiration I have for my colleagues is not for someone in a studio in New York but for somebody on the ground in places that they've gone to fight to tell the story.

My studio was built with a team of experts to record the sitar at the highest level possible, and I'm very happy with the results.

I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.

Lately I've been a workaholic. I'm in the studio all the time and I've helped to produce a couple of artists.

Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.

When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.

Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.

I've always found music inspired me in the studio to try to do new things. If someone comes out with a new album, it's like, 'Gosh, they've been working hard - so should I.'

I do as many fun activities as possible. A lot of hiking, beach bike riding and walking. And cardio barre, which is a dance-based workout at a ballet barre. It's a full-body workout for one hour on Monday, Wednesday and Friday in a studio.

Having the opportunity to join the FOX family as a soccer analyst in their Moscow studio for what will be my third World Cup is amazing.

When I'm sitting in the studio, a mix isn't done till I feel it in my gut.

Tim Conway was a little different from the rest. He was always in the back of the studio building something with the prop man, rewriting his lines, or plotting our demise.

Rap isn't that time-consuming for me, compared to an ordinary artist. I do not stay in the studio all day.

The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.

After 'Tina Snow' dropped, I had so many performances and so many appearances, and I'm in the studio all the time.

Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.

You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.

I'm in the studio for hours in that tiny little box, and really, the performing part is what I'm most excited about.

A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.

I love the road, and I love coming in contact with the fans. They talk to me and that's irreplaceable. But when I get tired, I head to the studio and I am in there for a long time.

I'm never tired of going to the studio. I enjoy recording and documenting everything and trying new things.

In Hollywood, 'under development' means 'all I have is the title.'

I used to listen to a lot of music in my studio - all the time. But as far as the music that interplays with my work, what I've done and still do is keep a lyric book and song title. The material typically comes from Eartha Kitt, Betty Davis, Donna Summer, Whitney Houston.