Quotes About Studio

There's just a lot of really young, entitled people. I don't think a lot of these young people have to work very hard. They're found on YouTube and, boom, thrown into the studio, so they think they can get anything they want.

I think that we're gonna start seeing more and more people who started as a YouTube personality and now have their own studio, and they're gonna start creating things: story-driven stuff, longer-form stuff that people have an opportunity to enjoy.

Eight years ago, if I wanted to do a YouTube video, I broke out my camera and filmed everything myself and learned how to edit and kind of become a one-woman studio. But we're living in an era now, thanks to ICON, where any creator who is online, they can create in their own space.

I work in a studio with lots of young people, most of whom are my former students. We delight in trading YouTube videos! We all stop working to watch them. I'm totally addicted to anything with kittens and puppies, but 'Very Scared Kid' is one of my favorites.

People started noticing my singing on YouTube, and then I came to L.A., and I lived on a studio couch. I wrote songs every single day with whoever I could write songs with.

YouTube opened up the types of voices and alternative ways of viewing ourselves that would never have been greenlit by a Hollywood studio.

Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.

I like to think of 'the studio' as a laboratory where I can go in, learn tricks, apply, revise, and release. I'd figure I had about the same emotional attachment to my craft as a guy over at NASA does over... NASA stuff.

By 1949 I knew all the studio tricks.

I tried my hand at photography and worked with a studio for six months.

I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing 'Don't Smile at Me,' but it was really hard there, and we ended up just doing it at home anyway.

But 'Night Herding Song' was funny 'cause we tried to record it in the studio in RCA one day, but theres no reverb in the room... Its really hard to do a piece like that without any reverb because you cant hear anything back.

I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

I think you get in trouble if you make experimental big studio films.

Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.

You can always trust that an audience is smarter than a studio thinks it is.

I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.

The great thing about a big studio movie is that you get to work with the best, the most talented craft people in the world. But you have to be able to communicate, trust, and empower everybody.

The plain truth is, 'Fruitvale Station' was made totally outside the Hollywood studio system, and every ounce of the picture feels authentic. The lives of the people involved in the movie will never be the same.

I'm still shocked when people say, 'You haven't done a studio record in 20 years.' I try to make excuses for it, but the truth is I just wasn't with it.

I love making music. I never stop. I want to keep it moving forward. I like to go into the studio and make hits. It makes me feel good.

The studio people want me to do "Good-bye Charlie" for the movies, but I'm not going to do it. I don't like the idea of playing a man in a woman's body - you know? It just doesn't seem feminine.

I'm trying to get music ideas that come and keep them alive. It's like carrying water in your hands. I want to keep it all, and sometimes by the time you get to the studio you have nothing.