Quotes About Studio

I just love being in the studio, and that's kind of what I do when I'm not on the road. I'm just in the studio messing with stuff, and I love playing all the instruments.

Mike Elizondo had an incredible array of guitars in the studio, but they were all right-handed.

When I'm in the studio, I like to be in there by myself because if I'm in the mike room, and I look out and see people talking, or they're not nodding their head or rocking to the music, it makes me feel like it don't sound good, or I'll be scared to really open up vocally because I might mess up, and they might be in there laughing.

Once you make a studio 700 million dollars or so, or whatever the insane number is, then they finally seem to trust you, no matter how off-the-wall your project is.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.

If my tiny studio apartment in Santa Monica were, heaven forbid, to go up in a blazing inferno, the one thing I would rush back inside to save would be my favorite pair of strappy silver slingbacks.

Men. They were nothing but trouble anyway. I mean, really, look where the men in my life had gotten me. Handcuffed, fingerprinted, jailed…then handcuffed again! That's it, I washed my hands of the whole lot of them. In fact, I was actually looking forward to flying home, sitting in my cozy studio and spending the evening alone with Joanie, Chachi, and the Keebler elves. Now those were my kind of men.

I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.

There was an aggressiveness I had never seen in him before; by the end of the session, he was almost psychotic.

I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

I produce some of my music videos on a $200 budget. But I produce most of my videos on zero budget. I have a studio in my apartment - which is actually just a green screen I have tacked on my wall and some lamps to light everything.

There was absolutely zero discourse between me or anybody at the studio with the NFL. None. The only exchange was one-sentence e-mails trying to arrange a meeting, before deciding to cancel the meeting. Period. End of story.

Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.

On Eye of the Zombie, I had so-called studio musicians.

I'm always most comfortable in the studio. It's my comfort zone. I love being there, and I love making records.

I feel, in my live shows, I can be as dynamic as I want. It's my comfort zone. When I get in the studio, it's more of a solitary experience, which can be good creatively.

I've never done a lot of collaborations. Truthfully, artists most of the time are so busy, they never get a chance to get in the studio and be personal with a record.

As an audience member, those studio films are fun. I like an adventure tale, and I also like to go see something that has more of a social pulse. I like to keep learning and trying new things. And if the scripts are good, it doesn't really matter.

When I record in a studio. I know that on Tuesday at 3 o'clock I've got to go be creative.

You cannot enter a studio and just start crooning before the mike. It is essential to understand the mind of the composer, mood of the song, and meter of the tune.

Since his childhood, Bappa has observed me singing and practicing and is well aware of all sorts of recording and singing arrangements. I have a studio at my home, so whenever he needs my help I make sure I stand by him. I often sing for the tunes that he composes.

I knew before going into the studio that I wanted to make a Western record, featuring a combination of traditional Western folk and cowboy songs and some tunes that I had written that were heavily influenced by that kind of music.