Quotes About Studio

When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.

Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.

Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.

When I went into the studio I created a sound that I wanted to hear.

I always used to develop a cold going into the studio.

When I'm in the studio, I don't finish the song and say, 'That's going to be a big ringtone.'

I'd think the house was the source of great sadness or pressure. I knew it wasn't. I knew it was just where I lived. But I'd walk up the stairs and the second floor was just desolate. My old bedroom: empty. My old rehearsal room: empty. First floor studio: messy and empty. Middle room: broken gear everywhere.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

I have a studio at home, and do 3 hours a day that way.

I was the first studio executive to meet with Sean Penn after 'Taps' in 1981. I was anxious to develop things with him when nobody knew who he was.

I can make everything I do come from my laptop. Even when I go to a big studio, all I do is to plug in my laptops. That's they way I do it.

The thing is, the studio then forget that you're an actor and that you can do other things, and so since they pay you for that, they don't want you to do anything else.

That's a different side of the brain going into the studio, as opposed to doing a live show, obviously.

If you think of movie studio executives, say, as society, then I root for the independent producers.

You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.

All the movies that I have done I have not been in control of. Sometimes there is a contractual situation where you go to the studio, and they kind of tell you which ones they want you to do.

I like studio movies; I love big commercial movies.

I've been in enough films where the studio wanted that extra little cuteness to make it sellable.

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

I mean for me, I can't really say I differentiate 'cause when I go into the studio to make music, I just make music. Sometimes, it just ends up with me, and sometimes it doesn't.

It takes a week to do a sitcom in Hollywood. I do a show a day in my studio, three or four shows a week.

When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.

The difficulty of getting a movie made through a major studio is so extreme that when a movie comes out, everyone should give it four stars because it was accomplished.

There was a recording studio in my school, and I knew this kid who had a key, so I'd write lyrics in school while I was in class, and then, in a 10-minute break, I recorded the song 'Hurt' in one go at the school studio.