I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.
The Bassbone works great in the studio or on the live stage. Throw it in your gig bag and take it wherever you go.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury
I used to empty the studio out and throw stuff away. I now don't. There will be a whole series of dead ends that a year or two down the line I'll come back to
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
My family is full of musicians, and a couple of times a year we get together and jam at my cousin's studio. We improvise and have a great time.
Along the way [Mozart] got married; fathered seven children (two of whom survived into adulthood); performed as a pianist; violinist; and conductor; maintained a successful teaching studio; wrote thousands of letters; traveled widely; attended the theater religiously; played cards, billiards, and bocce; and rode horseback for exercise. Not bad for someone portrayed as a giggling idiot in the movies.
So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.
I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.
Big studio comedies are such a headache.
For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
In the studios days, the public's perception of movie stars was much different, because the stars were so much less exposed. This made them seem more special, more unearthly. Today they're no longer perceived as different - they've become human, so to speak.
Set in the remote and harsh high desert landscape of Idaho, Outpost is an artist live/work studio and sculpture garden for making and displaying art. An important aspect of the complex is the protected paradise garden, which is separated from the wild landscape by thick masonry walls. The materials used in the structure, including concrete block, car-decking, and plywood, require little to no maintenance, and are capable of withstanding the extreme weather that characterize the desert’s four seasons.
I remember wearing overcoats, hiding in the bushes outside of Abbey Road Studios, waiting for the traffic to clear. As it did, we would drop our overcoats and run out on to the cross walk and strike our poses.
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.
Motion-picture studio floors used to be all wooden and not smooth at all. This was difficult when moving a camera around on a dolly.
Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.
For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.
There's a million new people in the studio every day creating new stuff so I really had to be on my toes with this one so I could get it out before somebody else could.
Decline III, I funded myself, from the studio money. That, and I sold a lot of drugs. Kidding. Don't print that.
The thing with me. I can't stick musicians. I've thought about this. I can't stand them, and being stuck in a studio with them I think that's my strength I can hear what they can't.
When I go into the studio, I completely detach. I let my emotions come out.
After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.
I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.
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