I run the 'Actors Studio' on the West Cost. I'm artistic director of that.
The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.
I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.
I tell directors, 'I can't promise you a hit, but I can promise you the movie is going to be yours.' When you work for a studio, they pay you a lot of money, but in exchange for that, they tell you what to do.
Playing live was always definitely a lot more fun. You picture it: working alone in the studio eight or 10 hours a day with nobody else there, being frustrated and driven crazy by all of the things that you have to deal with, vs. thousands of people screaming and singing along with you playing.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.
I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors. I tried to create a Hitsville on the West Coast.
I would love to do a big studio movie, just because they're going to put the money into distributing it. A lot of times you do these little movies, you love them and they never get seen by anyone.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
So that studio served its purpose, and still is working very well for other people right now.
The studio should not have released this film.
I was never much of a club guy. Even when I was in New York in the early eighties, I never was once in Studio 54. It was too noisy. My version of those years mostly took place at my house.
Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.
I think one of the great things about 'Bridesmaids' is that it's a big studio comedy, but all of the relationships in it are so grounded that you're watching a real movie.
There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.
I always wanted to be a full-time musician. Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
When I am having my picture taken, I channel Beyonce. In the studio, my inspiration is Adele.
I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.
Performing live on stage is such a community, whether it's my musicians or a cast of a show that I'm in. And then when you're in the studio or on set, it's a much more solitary experience. Both can serve me at different times in my life. And when I go back and forth from one to the other, it helps me appreciate all of them much better.
Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
I'm someone who has always been quite clear about what I like. In the studio, I'm not a control freak but I know what I want.
There's something great about driving through studio gates and leaving all your responsibilities behind.
Disney was a family film studio. I was supposed to be their young, leading man. After they found out I was involved with someone, that was the end of Disney.
I've been messing around in the studio the last couple of years. But I don't want to worry about being taken seriously as a singer. It just really feels good to do it.
I realised that the only time I really enjoyed music was when I was in the studio writing. So even though it was a six album deal, they saw quite early on that I wasn't enjoying it as I should be. I didn't feel there was anything behind it.
I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'
I prefer playing in the studio because you have much more control over things.
I'm in the studio 24 hours a day. It's true that once you get a certain level of success, you become a target. Talk magazine should be ashamed of themselves.
I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.
I'm not one for walking the beaches humming a melody. I love the discipline of sitting in the studio, writing and listening. That is my domain.
