Quotes About Studio

Now I have other demands on my time that are not flexible, I just can't wander into the studio at 2 A.M. like I used to. If I have an idea in the middle of the night, I will go and get the bare bones down, but mostly you can learn to tame it to your needs.

I'm just randomly wandering around the Walt Disney studios making pew-pew sounds, trying to direct people, and nobody listens to me anymore. I'm turning into a Force ghost. It's a strange feeling.

The first session I did with the Stones was an accident. I just happened to be wandering down the hallway of the same studio.

When I was making my second record, I was in studio, and I was like, 'No more ballads! Absolutely not!' And somebody walked in with 'The Man I Wanna Be' and I heard it and was like, 'Ah, crap!'

I want to give the music attention and be in the studio. I want to give all my attention to my music, my kids, my family, so I just wanna focus on certain things besides social media.

The 'I Wanna Dance' hook actually came to me when I was in bed and just in that lucid moment between consciousness and sleep... I jumped out of bed and recorded a voice note of the vocal hook and I went into the studio the next day fully inspired.

I always have a ping-pong table in the studio. If you're with an artist and you notice the situation is going south a little bit, it's like, 'You wanna play ping-pong or foosball?' Or, 'You wanna go grab somethin' to eat?' And then you just like talk to them and relax them and get them comfortable and get yourself comfortable.

When people wanna come buy beats or wanna record a song, I'm trappin'.

As soon as I'm in the studio for too long, I wanna be out on tour.

I was 13 years old. I feel like I didn't have a sense of artistry, and I didn't have a sense of the music that I wanted to make, and every time I'd go into the studio, and I'd make my EP, a month later I'd scrap it and be like, 'I hate every song. I don't wanna do it.' Because that's how 13-year-olds are.

I'm very thankful that I'm in a position where I'll never be without a session. I'll always have someone who will want to get in the studio with me, or there'll always be someone that I'll wanna get in the studio with.

My mom was a rapper. I would go to the studio with her, and that definitely showed me I can do this, I wanna do this.

I could probably have an idea one day and then go into the studio and really wanna write about just that idea that I have in mind. Or it can vary with just a simple beat and I just do a bunch of melodies on the track that inspire me.

One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.

I remember wanting a Scotty Cameron Circle T putter really badly. I remember the first time I went to the Studio and I got to pick one out and have it customized. That was pretty cool.

Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.

From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.

For years, Warner Bros. was trying to get me to make a movie about Howard Hughes.

It's interesting: John Calley at Warner Bros. helped me put 'Alice' together. It was very unusual back then for a studio to support an actress the way he backed and supported me. He even asked me if I wanted to direct the film, which I didn't feel prepared to at that point.

Think about trailers you see in theaters. If you're seeing a Warner Bros film, the studio might have three of the five trailers. So having a hit helps you create the next hit.

Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.

I'm first and foremost a company man, surprising as that is. I love Warner Brothers. That's where I have a deal. That's where I've been for years. So I don't really interact too much with other studios and do things with other studios and I don't necessarily read scripts from other studios.

I bumped into Mike Epps in a barber shop. I was in the Warner Brothers studios trying to find my way for an audition and director Jordan Peele was just standing talking in a corner, so I had to introduce myself.

Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.