My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
I only made two studio movies, that was a long time ago and obviously I removed myself. I think some of that is geographical. I live in New York and I want to work there, it's as simple as that.
Walt gave me a VIP tour of the studio. I remember people doing voices.
My studio, nicknamed 'Funny Farm,' is in a hidden location. It's very private. Not only do I create my photography there, but it is also where I write my books and create music.
I live in a very small town and now that I've closed down my studio, I'm working at home.
I do a lot of performing, but don't get a chance to go to the studio and write good music.
You can tell the difference between songs that were created in a garage and songs that were created in the studio.
My favorite hobby is writing and recording songs at my studio. I like to surf, but I don't get a chance to do that as much as I'd like. I don't live close to the beach. I also like to ski, but I don't get to do that much, either.
Carol Burnett probably had the biggest influence on me as kid. Although I was very young and watched her a lot in reruns, I was mesmerized by the way she transformed, by her physical comedy and the rolling laughter from the live studio audience. I loved her most as Scarlett O'Hara and her well known Cleaning Lady character.
We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.
There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.
When I was starting out, young actresses had the studio system to protect them. Now you have a host of sharks, from your agent to your publicist to your lawyer.
Today, it's very tempting to create songs by cutting and pasting in the studio.
I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
I know, for me, that I have always been very conscious of how I dress when I go to the studio, I'm very conscious of my body language when I'm working - a lot of times, I'm the only female in the room. It's a very male-dominated profession. I'm always around guys. Guys are going to try you all day, and they're going to flirt all day.
Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.
I'm a portrait photographer that's used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots.
I want to keep a thread between the studio and the stage, and I want to flow more easily from one to the other.
I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
I felt that the studio recording process makes you stand still too long.
I always used to develop a cold going into the studio.
Just writing and being in the studio was like therapy for me.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
Back 20 years ago, I was recording with Bruce Springsteen, and his producer called me and said I had to be in the studio the next day to finish the sessions, and I couldn't. I had to be in court, in California. All this took like 10 years out of my life.
The studio moguls were certainly bigger-than-life figures, but they were also tough and unforgiving street fighters to a man, redeemed only because they were also the butt of so many Hollywood jokes.
The U.K. needs more first class studio space to encourage the growth of the film and TV sector.
Lately I've been a workaholic. I'm in the studio all the time and I've helped to produce a couple of artists.
I park two blocks away from Nickelodeon studios and I hop on my skateboard and I skateboard the rest of the way to the studio.
And if I had a preference, it would be to be able to not be in the studio until 4 in the morning.
I'm a bit of a geek when it comes to music. I like studio gear. I'm always looking it up on eBay and seeing what I can afford.
I feel like a hit will come whenever it does, but I don't want to sit in a studio trying to figure out the magic formula and mixing spices and trying to come up with the perfect song.
Decline III, I funded myself, from the studio money. That, and I sold a lot of drugs. Kidding. Don't print that.
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
