You could just do independent movies, but I like bigger kind of studio movies, at least some of them.
There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.
The list of photographs that I am missing while I sit on airport runways, teach classes or spend hours in the studio makes my head spin. It's almost as if I can actually sense all the great pictures that I'm missing at a given moment. It's times like those that remind me to be very productive when I do get behind-the-camera time.
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.
No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic.
We put out real hip-hop at a time when it was turning into pop or R&B ... We brought the focus back to the music in its rawest form, without studio polish or radio hooks. ... People want something that gives them an adrenaline rush. We're here to supply that fix.
Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.
Hood films now are made by studios and have nothing to do with the reality they supposedly represent.
My partner sometimes liked to go into the studio and improvise voice things just for fun. When I returned from England I transcribed one of her melodies, and had some of the hospice participants sing it, because they said they liked to sing. Their singing is very raw, but I'm going to use it for the final work.
So I go to the studio, and just say, 'Hi Paul, it's me, Rusty.' I think I kept it together pretty well, although I was pretty nervous. And before the day is over I'm playing guitar, and there's Paul McCartney over there, playing his Hofner bass and singing. All I can do is think, 'This life is so so bizarre.'
I feel like it's really kind of a sit-down album, much in the same way I imagine Billie Holiday or someone sitting down in the studio and singing.
I feel like I'm stepping into a place of spiritual contemplation every time I enter a studio; it's always had a certain magic to me that has never worn off with familiarity.
I get into the studio and I try to make visible what's in the choreographer's mind. Sometimes a choreographer wants you to have an idea, and sometimes you are the idea.
My most heartfelt thank you goes to Impact Future Media and Cartoon Monkey Studio. Their dedication to the truth is very uncommon in the world we live in today. I am now, and will always be, grateful to their organizations.
When it comes down to it, it's about who you know, and who's a fan. It's about whether you're the right age, whether you're hot or not, whether the studio is into you or not.
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've tried a few times to depart from what I know I can do, and I've failed. I've tried to work outside the studio, but it introduces too many variables that I can't control. I'm really quite narrow, you know.
If you look at American studios, the big productions have nothing to do with reality.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
I walk into a large white room. It's a dance studio in midtown Manhattan. The room is clean, virtually spotless if you don’t count the thousands of skid marks and footprints left there by dancers rehearsing. Other than the mirrors, the boom box, the skid marks, and me, the room is empty.
Photography in our time leaves us with a grave responsibility. While we are playing in our studios with broken flowerpots, oranges, nude studies and still lifes, one day we know that we will be brought to account: life is passing before our eyes without our ever having seen a thing.
The painter locks himself out of his own studio. And then has to break in like a thief.
Theirs [the Beatles] is a happy, cocky, belligerently resourceless brand of harmonic primitivism... In the Liverpudlian repertoire, the indulged amateurishness of the musical material, though closely rivaled by the indifference of the performing style, is actually surpassed only by the ineptitude of the studio production method. (Strawberry Fields suggests a chance encounter at a mountain wedding between Claudio Monteverdi and a jug band.)
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