Quotes About Studio

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.

Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.

And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.

When she told me how Phil had built a platform that hung five feet from the floor by thick chains to hold the drummer's kit, I nearly died. He'd built it because he believed that drums should be recorded from

Under the Code, actresses lost their edge, their ability to surprise. As one studio executive grumbled, "The leading lady must start out good, stay good, and be whitewashed for the finish." Consigned by censorship to a fantasy land of purity, they lost their social relevance. After all, what is the point of a Kay Francis movie in which Kay Francis is less sophisticated than the viewer?

There was, in fact, a standard studio recipe. Take one young actress, pluck her eyebrows, cap her teeth, shape her hairline, pad as required and throw her into the ring with Andy Hardy. Then wait and see. If the public responded, the starlet became a star.

I have mugs of hot water every morning because the studio is cold, and also because it makes my throat sound clearer.

I was so young, and making movies, going to the studio every morning at dawn was magic.

[On the Hollywood studio system:] A sargasso of the imagination!

I was responsible for a clause that is now standard in all studio DVDs, the disclaimer that states that the studio is in no way responsible for any of the content or comments made by people appearing in the interviews on the disc. It is hard to overstate the importance of this clause: It enables those supplementary DVD segments to be more than mere puff pieces but a valuable form of oral history. People can tell their differing, multiple versions and perceptions of the truth

No more hired guns; just David, Rick and myself, with the engineer at the desk, a two-track left running – and as much time as we needed. Although bitter experience had taught us to be prepared for disappointment, and though there was no pressure to come up with anything concrete at these sessions, the very fact of booking the studio was an indication of our commitment.

On a stop over at Hong Kong airport heading home we phoned the Hipgnosis studio to brief Storm on the cover design for Meddle. The title had been hastily concocted and, maybe inspired by some Zen-like image of water gardens, we told Storm we wanted 'an ear under water'. Time differences meant that neither party was on top form for the telephone discussion, but even across the intervening miles, we could hear the sound of Storm's eyes rolling.

It was a pity that before I'd even started work on The Final Cut, Roger felt it necessary to announce aggressively that since whatever I did 'was drumming', I couldn't claim either extra royalties or credit for any of this work. This really did seem like behaviour beginning to border on the megalomaniac, particularly since I posed no threat to his plans. I decided to look on the bright side: at least it was a way of escaping from the fraught atmosphere in the studio.

But it was another factor in how David and I viewed the future. Both David and myself regarded playing live and touring as an integral part of being in the band. If being part of a Roger-led Floyd meant that there would be no live shows ('due to indiscipline, all touring has been cancelled this term') and only aggravation in the recording studio, the future prospect seemed distinctly unappealing.

It was still rare for musicians to be allowed anywhere near the mixing desk, and not unknown for session players to be brought in to save on studio time: the Beatles had begun changing this, as their success convinced record companies to interfere less and less. Virtually every subsequent band owes a huge debt of gratitude to the Beatles for creating an attitude where popular music was made by the artists, and not constructed for them.

I hate formal stuff. I love looking like a doll and all that stuff and playing dress up, but when I'm home, sweat pants, t-shirt. When I'm in the studio, sweat pants, t-shirt.

Anna and I did not make love. I don't remember why. Maybe we didn't need to. She might have been afraid, although I doubt she was afraid of much. She'd been a midwife before she opened a studio; she'd held life in her hands, like a wire from a galvanic cell. Maybe death was too strong in me for an act so inspirited with life. Although I sometimes think that death is what gives lovemaking its desperate and terrible joy.

We'd recorded Black Sabbath in one day. Sabotage took about four thousand years.

I liked the immediacy, the transmutation of energy. I liked the task of drawing from oneself. One's ancestors. One's God. To be a human saxophone. 'Birdland' is an example of how a lyric is composed in the studio. It is the result of the trust built between musicians, requiring communal selflessness in order to draw from the collective intelligence.

Todd also realized, pretty early on, that the producer didn't really do shit, and that it was the engineer who had all the controls!