When I'm in the studio, there are no boundaries.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.
New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.
When you're on tour, you're trying to get the crowd involved and really sing and perform to them. When you're going to write and be in the studio, it's like, 'Now I have to think about me.' That's the mind-set you have to work with.
You should learn to be happy with what you have. Besides, the fact that I'm not a huge star has allowed me to pick and choose the roles I want to do, not the ones some person sitting in a studio office thinks I should do.
I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.
My taste changes radically all the time, and I listen to whatever feels good. Another thing is that I'm in the studio so much of the time, and I listen to so much loud, aggressive music for work, that for pleasure, I'll listen to something else.
With 'Dance Moms' in L.A., we film on Wednesday, Thursday, Friday, and Saturday. When we film in Pittsburgh, we film the same days, but we still dance in our studio when we're not filming, so I'm dancing every day except Sunday.
People tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.
The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.
There's no room for being a visionary in the studio system. It literally cannot exist.
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
Many take the roles home with them and live the part. I'm quite happy to leave mine at the studio and return home as I left: simple old Roger Moore.
I like performing live more than anything. I get a little bit afraid in the studio.
'Glee Project' and 'Glee' have the same spirit, but they're both harder in their own ways. With 'Glee Project,' there's more pressure because you're being judged in everything you do. When you film 'Glee,' you go to the studio and have an off day, and it's OK - you're still going to be there; you take as many chances as you need.
I love being in the studio.
The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
As opposed to touring for three years and then going into the studio and writing an album, I think this record is representative of a lot of everyday people.
I would make tea for Joni Mitchell or clean her car, anything to be in the studio and watch her work.
You know, they just don't make big movie stars the way they used to, maybe because the system has changed, the studio system, but it's sad to see people like Jimmy Stewart go, all the giants of the past.
But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Everything about the studio was enormous. You walked through the gates of iron, and it was palatial looking. The first day, I was introduced to Clark Gable. He said, 'Hello, kid. Welcome to MGM. I'm just leaving.'
Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn't happened to us.
I'm doing lots of interviews and stuff. I'm longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.
I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
I think people are tired of fake music, man. And there's a lot of it. Technology has reached the point where any boob can walk into a studio and with a little AutoTuning you can have a hit song. I think it's pathetic.
I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.
Money's not important to me. Movie star acknowledgement is not important to me. I don't want to be a big studio actress. I don't want to be in the limelight.