Kingston is so chill. He goes with me everywhere. He's been to every studio in L.A., New York, London. He lives up to his name - total Rasta boy. He gives me a real balance. You can go 100 miles an hour, but you still have to stop to hang out with him.
I'm used to going into the studio and smoking and drinking until three in the morning. But I can't drink as much because I'm breastfeeding. See this glass of wine? Before, I'd have, like, four of them. Now, one is good. Oh, and I quit smoking. . . I've exorcised a lot of my demons, but I'm still working on myself. I think I'll be a work in progress for the rest of my life.
Monet's garden must be included with his works, because he combined the magic of an adaptation of nature with the work of a painter of light. An extension of the studio into the openair, with color tones lavishly spread out on all sides to exercise the eye with seductive vibrations, from which a feverishly aroused retina expects unquenchable joy.
My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.
I wake up every morning and I feel like I'm juggling glass balls. I live in Los Angeles, my business is run out of London, and most evenings I'm cuddled up in front of Skype, in my dressing gown, speaking with my studio in London. I travel a lot, my team travel a lot, but I wouldn't have it any other way.
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.
Look at the studio filled with glamorous merchandise. Fabulous and exciting bonus prizes. Thousands of dollars in cash. Over $150,000 just waiting to be won as we present our big bonanza of cash on Wheel Of Fortune.
I learned to cross the threshold of my studio with reverence, as though I were entering a shrine set apart for me to become co-creator with the Universal Thinker of all things.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
Regardless of how well a studio is run, it's only as good as the product it produces.
When the polar ice caps melt, my recording studio will rise up like an ark, and I'll float off into the drowned world like a character from a J.G. Ballard novel.
I was in the studio so much, it was about the search for air in a metaphoric sense, and the breathing has more to do with travel for me, about the search musically for open air.
I want to say to the people, if I am a star, the people made me a star. No studio, no person, but the people did.
I can do everything skinny girls can do, trust me. I honestly think Hollywood is getting real. They're saying, 'Hey this is what a lot of America looks like,' a lot of America doesn't wear a size 2. I think the studios and the media are starting to realize that overweight people want something they can relate to, so let's give it to them.
A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.
A lot of it's experimental, spontaneous. It's about knocking about in the studio and bumping into things.
When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog-big as a donkey. ... I think that songwriting changed when groups started spending more time in the studio. ... I've written so many songs about Englishmen, I have to go elsewhere. ... Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
But there's a thin line between songwriting and arranging. ... Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too. ... And I think it's safe to say that the single very impressive figure to me was Merle Haggard. ... Dylan can do no wrong. ... Glenn Gould was my hero. Glenn Gould was my idol. I loved him. ... I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.
I wake up from dreams and go, 'Wow, put this down on paper.' The whole thing is strange. You hear the words, everything is right there in front of your face. ... I am always writing a potpourri of music. I want to give the world escapism through the wonder of great music and to reach the masses. ... And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
If I'm writing... even a piece of a song... I write it down. If it still resonates six months down the line, a year, even five, those are the ones you put in your bag and you take to the studio. You come to realize, the ones that don't make it, they were only meant to live for that moment in your notebook or on the 4-track-and plenty of songs never get any farther than the 4-track.
During my first few weeks in Hollywood, I was told that Jack Warner, the head of the studio, did not believe that a small-breasted woman could become a star.
When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.
Studio people are idiots. Until they see someone else doing it and make a success of it, they don't open their minds. Most of them are idiots.
A big budget studio film is slower, theyve got so much to create around you. Everything is more complicated.
You can't do psychological thrillers. There's no audience. I've heard this. I've heard this from studios.
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