Zitat des Tages über Studio:
Music itself is a great source of relaxation. Parts of it anyway. Working in the studio, that's not relaxing, but playing an instrument that I don't know how to play is unbelievably relaxing, because I don't have any pressure on me.
The upside to smoking is that you get to be social. I was looking for a light when I bumped into Ben Harper's manager. A couple of days later, Ben and I were in the studio.
It would be a dream come true if I could just go from studio to studio and play solos.
When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
I walk into the studio and we're all so happy to see each other.
I created a successful outdoor youth festival - the Liverd festival - against all good advice. It was a great way to explore and investigate social sculptures. Having that as my kind of studio, outside of a museum or precious white-cube gallery, that was a kind of education.
When I'm in the studio, I'm strictly thinking about the beats, the rhymes and the song. The decision I make once the songs are created, and there's a barcode put on the package, and I'm out there in the street selling it, those decisions as a businessman are different than the creative decisions you make.
Getting used to the studio and everything was fun, we freaked about alot. I was working very hard then.
A lot of what we do in the studio on a day-to-day basis is you try to cast a line as far out as you can out into unknown waters and reel it back in, cut out stuff that isn't working, cut out stuff that isn't connecting to people.
I didn't have money to eat when I was 21. When I was short on cash, I would sometimes scam food from fast food places. I'd go into fast food chains and pretend I was from a movie studio, tell them they didn't send us the right order and demand they fix it. I've tried to make that right whenever I could.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
My experience on 'The West Wing' was, I think, now rare in that I was pretty young, and I walked into this environment where Aaron Sorkin was giving me a script every week, and Thomas Schlamme and John Wells were keeping the studio off my back, at least as best as they could.
It's funny: the reason I did 'Beautiful Creatures' was the same reason I did everything else - even though it was a genre film and existed at a more studio level, the script and the characters were so well written.
I always have a ping-pong table in the studio. If you're with an artist and you notice the situation is going south a little bit, it's like, 'You wanna play ping-pong or foosball?' Or, 'You wanna go grab somethin' to eat?' And then you just like talk to them and relax them and get them comfortable and get yourself comfortable.
I'm an artist, and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does, you know, the press, and figuring out shows and whatnot. When it comes to my artistic freedom, he doesn't, like, step on my toes or anything.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
I was an original member of the Actors' Studio.
When I'm not on set, I'm in the studio.
I suspect that a lot of studio executives still think of me as 'what's-his-name'.
I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.
I love ballet. Ballet is its own being. It has its own vocabulary. I feel as if I am in a different world when I am in the ballet studio.
When you do a writing job for a studio, one of the things you want to do is satisfy the expectations of your employer. That's a little bit different than when you sit down and write something to satisfy yourself, because then you're the employer.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
I did a show a long, long time ago called 'Cooking Mexican'. It was a studio show as opposed to on-location like the one I do now. Before my first show, I was a cooking instructor, and I did a whole lot of classes for home cooks about Mexican food.
All of my books have the potential to become movies, it's just a question of finding a studio who wants to get behind me and put up the money to make the movie.
If a studio is going to offer me the opportunity to invite my mother and grandmother and all my friends to visit me free of charge in Thailand, I'm going to take that opportunity.
The person earning the federal minimum wage of $7.25 isn't going out to eat at restaurants. They're not taking piano lessons. They're not going to the gym or the yoga studio. They're not sending mom flowers on Mother's day. What good is this person in the economy? If you raise it to $15 an hour, they're doing all of those things.
What is generally referred to as American-style films are, in fact, studio productions.
Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.
I love getting into a studio with a bunch of friends. When the day's done, we've made something. We recognize that we're from different walks of the music industry, and there's no reason we shouldn't be collaborating. That's what I'm trying to create with thenewno2 - a sense of community.
I needed an opportunity to get back in the studio and get my recording chops back together.
I never learned to study in studio school, so I had to teach myself to study.
I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
I much prefer the road. My thing is getting live in front of people. There is a sterile environment to a studio that doesn't make me let go.
The thing that's characteristic of my performance is that I literally do drag the whole studio onto the stage.
