One of the things I like enormously about Bob Weinstein is that that he's the only studio head I have ever known who will change his mind and say he was wrong.
One thing I love to do is produce. I've produced a couple of bands. I mean, nothing ever really happened with 'em, but I enjoy getting a young band into the studio and guiding them, and making them feel at ease.
My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
And no again: My studio is not a first or any step toward becoming any type of businessman on my part.
I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.
A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.
One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
I was under contract to Paramount. They wanted to make me into somebody which I was not. So I got so scared and rebelled, so they threw me out of the studio.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
I write in the studio.
Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.
For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.
We were in New York, and we were performing at a morning show. This fan literally ran from that studio in the middle of New York City to our airport, which was very far away. That fan ran all the way there to see us, and we were so in awe of that guy.
My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.
The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
I thought it would be a lot of fun and I wasn't going to do the movie without Johnny. The studio suggested a couple people, and I'd never met Johnny, but I thought we'd be a perfect team for this movie because we're both a little bit unpredictable.
My studio was on 9th Street between University and Broadway.
Even the shows or movies that we know are not going to change the world, I love this. I love 'em. I'm a movie fan. I'm a nerd of any kind. I love a big studio comedy as much as I love the teeniest tiniest of indie. I'm not a snob in that way. I really do like a big, big studio comedy.
Plus, we spend most of our time writing music. Most of the time is spent in the studio in my house.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
For years it never occurred to me to question the judgment of those in charge at the studio.
The studio system reminds me of the stock market.
More live recording. I have missed the boat over my career by not doing every second or third CD live because things happen onstage that don't happen in the studio.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.
When we finish this tour we are going to begin writing and go into the studio to hopefully have a brand new Foreigner album out in early spring next year. This will be the first Foreigner album out in about ten years.
We shouldn't be afraid to fail- if we are not failing we are not pushing. 80% of the stuff in the studio is not going to work. If something is not good enough, stop doing it.
I created a show called 'Crash' for Starz, which was their first original drama, and that was not a good experience. I had a great time working with the cast and crew, but it was a young network and an intrusive studio, and to be honest I didn't really enjoy the movie 'Crash.'
Bantam Press. And they commissioned me to write it. And when that was completed, they sold it to Harper and Row. And then I put it out to every movie studio in town. And they all turned it down.
When it began I wrote this passionate letter to people I knew, studio members, of course, and other people with whom we have worked over the years and I said come and teach our students.
Tax rates aren't everything with regard to incentives to work. I would probably work at a 100% tax rate next to a nude modeling studio. I'm joking, but you know what I'm saying. There's a lot more to it than just tax rates. It's economics that I do; I don't do nude modeling studio economics. People do respond to taxes.
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
My studio cube is an experiment in solar heating and design. The south wall is covered with glass planks that collect and distribute heat naturally to my work studio on the second level.
I went from a guy, kind of a working actor, a supporting player, to magazine covers and being offered the studio pictures really quickly. Nobody was comfortable with it. I wasn't really comfortable with it.