It's easy to get caught up in a moment and think, 'Oh, I've been offered some giant studio film or a superhero franchise or some actor wants to meet with me about a project they want to do.' And it's easy to get caught up in a moment because it's flattering. But you can't do a movie because it's flattering.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
It just clicked that it was the next step for me; choreographing didn't interest me, and opening a studio wasn't a passion for me. I didn't know if I'd be very good at acting, but then my first scene in acting class... I just loved it.
My dream as a teenager was to run a movie studio, as in the old studio system.
I work out in a studio. Every day, regardless where I am, at least two hours. I need it. I can't cease it.
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
I've got a studio at home, and I'm always recording.
If I'm in the studio, I'm completely on music. I try to go to that place and that's the toughest thing for me to do. When I'm with other musicians, sometimes I go back to, almost like, childhood, because that's what I always wanted to be.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
The studio scene in California is sort of ridiculous anyway.
I'd begun to collect things that were lying in piles on the floor of my studio. I had run out of space, and I started to build shelves. I turned around one day and realized that that was the vehicle for carrying so many of the things that I was looking at and talking about, so they went from the walls to the works.
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 really think that 'Christine' is one in a million in terms of independent or studio.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know.
Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.
You may work under incredible pressure over two hours in a day, but you're often around that studio 14 to 16 hours of that day.
Before I realized what was happening, everything blew up. I made 'Animals' when I was in high school, and literally, from that moment, I've been living a different life. I've been touring a lot, traveling a lot, doing great shows. I've been in the studio with my biggest idols.
On our studio album 'Fly From Here' in 2011, we spent a year and a half promoting that around the world.
The studio have always claimed that the ship is the star of the show, especially when they're renegotiating contracts.
As soon as I can afford a studio space, I'll paint again.
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
My father was a studio musician, played for a lot of people like Frank Zappa and a lot of R&B bands, and was always gone doing that. Then when he was home, he was practicing. And so I always saw it, and I always wanted to do what he did.
It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.
For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.
Just when I think I hate fashion, I hate clothes, I'm seized by this crazy thing that I have to do. I have this little studio now where I just draw. I can be in the room for three days and not even look up.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
It's sometimes tiring to get off a long-haul flight and go straight to the studio for a shoot, but if you really plan everything well, you can get so much out of combining travel with work.
There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.
There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.
The first person that I ever heard sing a song I wrote was Jason Derulo. I was in the studio when he was doing it, and I mean, I've heard that guy's voice my whole life. When he was singing words I wrote, I started kind of choking up, but I tried to be all manly and puff my chest up and be all, 'Yeah, it's not a big deal.'
When I was about 13, I met the coolest, chicest young woman I had ever seen. She was a neighbor of mine who became a fashion designer and had a small design studio. She taught me so many things about style and fashion. I had always loved making things, so when she told me about her career in fashion, I knew I had found my path.
I had something to prove and went in the studio and started writing. I got into fitness and style and learned the whole craft. That was when I wrote everything on the album. I put out 'Don't Ya,' and it took off.
As a child, I always thought about big screen and even played in a amateur theatrical studio.
