A studio, like a poem, is an intimacy and a freedom you can look out from, into each part of your life and a little beyond.
When John Heartfield and I invented photomontage in my South End studio at five o'clock on a May morning in 1916, neither of us had any inkling of its great possibilities, nor of the thorny yet successful road it was to take. As so often happens in life, we had stumbled across a vein of gold without knowing it.
The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording studio, I would often lie down to nap and wake up with harmony parts fully formed in my mind, ready to be recorded. I think of music as dreaming in sound.
There was mass hysteria in the Chess Recording Studio when I did the "Shapes of Things" solo ... they weren't expecting it, and it was just some weird mist coming from the East out of an amp.
I don't like to go into the studio with all the songs worked out and planned before hand ... you've got to give the band something to use its imagination on as well. That can make a very ordinary song come alive into something totally different ... the X-factor - so important in rock and roll - which is the feel.
... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child
... the hardest studio music to play is Tom & Jerry - cartoons. The music makes absolutely no sense, as music. You can't get into hearing it. There's nothing to hear-'bleep!, blop! scratch!' and it comes fast; everything's first take. That'll change the way you look at life.
I always like the studio best, once I got the hang of it and the control. I like it because it's complete control
Getting used to the studio and everything was fun, we freaked about alot. I was working very hard then.
It makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names.
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.
When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.
Screenwriting is a terrible way to make a living and I always try to talk anyone out of it. Until you sit in a story meeting with studio executives with no particular ability or actors who haven't even graduated high school telling you exactly how to change your script, you haven't experienced what it's really like to be a screenwriter in Hollywood. Also, unlike novelists and playwrights, you don't own the copyright on your original material. It hurts when you sell a project you love and then suddenly the project you really cared about will never see the light of day.
In Hollywood, story content of movies follows a hierarchy of power, not the relative quality of various ideas. Hollywood does not lack for quality writing. It's just that quality writing commonly has to be sacrificed in order to propel a film into production. A studio needs a star and a director to make a film, so those are the folk who'll define the content. If they don't have the same creative sensibilities, then the content will change.
Well, I actually first got into music as a small child, and as I became a teen, I sought out making money from music, weather that was singing lounge gigs, backup in studios, or weddings.
As a teenager I had friends who had little music studios in their bedrooms and garages. I'd go and play around; very soon, my hobby became a passion.
Recently I have been working in the country, where, carving in the open air, I find sculpture more natural than in a London studio, but it needs bigger dimensions. A large piece of stone or wood placed almost anywhere at random in a field, orchard, or garden, immediately looks right and inspiring.
Where did I learn to understand sculpture? In the woods by looking at the trees, along roads by observing the formation of clouds, in the studio by studying the model, everywhere except in the schools.
I can never remember what I do even in the studio.
I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.
I always prefer to work in the studio. It isolates people from their environment. They become in a sense... symbolic of themselves. I often feel that people come to me to be photographed as they would go to a doctor or a fortune teller - to find out how they are.
A lot of 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.
But I don't like working on lyrics publicly in the studio - I prefer to take them away and work on them in my bedroom.
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.
Taking a song and bringing it to life in a professional recording studio can be an intimidating process at first; I know it certainly was for me. So to be able to offer support and guidance to an emerging singer-songwriter is a huge honor. I look forward to playing a role in such an exciting time of someone's songwriting career.
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