Studios Quotes - Page 33

• Things don't get tough in the studio. Sometimes things get tough outside the studio and going in the studio is a relief, a sanctuary, therapy.

  Mark Kostabi

  Relief, Sanctuary, Tough

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• I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.

  E. J. Hughes

  Years, Drawing, Use

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• At present I am using a good sized bedroom in the 2 bedroom house here as a studio, and it is large enough to step back from my canvases, and has a good north light. It should serve very well until I can afford to have the storeroom half of the back building lined and insulated and a chimney put in. That may be in about two years.

  E. J. Hughes

  Light, Years, Bedroom House

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• When we opened Disneyland, a lot of people got the impressions that it was a get-rich-quick thing, but they didn't realize that behind Disneyland was this great organization that I built here at the Studio, and they all got into it and we were doing it because we loved to do it.

  Walt Disney

  Organization, People, Realizing

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• The fascinating thing about the studio was that there was no story department. They would put a little notice up on the bulletin board saying: 'The next Oswald will take place at the North Pole. Anybody having any gags, please turn them in before such a date.' If you turned in gags regularly, the way Tex Avery, Cal Howard, Jack Carr and two or three others of us did, you'd be called into the gag meeting. The group would go into Walt's office and talk about whatever the subject of the cartoon was. Walt would put it into some kind of form and that was the story--no scripts, no storyboards.

  Walter Lantz

  Two, Office, Cartoon

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• If anybody gets highbrow around the studio, out he goes.

  Walt Disney

  Getting High, Fame, Fortune

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• I have never been interested in personal gain or profit. This business and this studio have been my entire life.

  Walt Disney

  Business, Gains, Profit

  Walt Disney, Kathy Merlock Jackson (2006). “Walt Disney: Conversations”, p.17, Univ. Press of Mississippi

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• People look at me in many ways. They've said, 'The guy has no regard for money.' That is not true. I have had regard for money. It depends on who's saying that. Some people worship money as something you've got to have piled up in a big pile somewhere. I've only thought about money in one way, and that is to do something with it. I don't think there's a thing I own that I will ever get the benefit of except through doing things with it. I don't even want the dividends from the stock in the studio, because the government's going to take it away. I'd rather have that in (the company) working.

  Walt Disney

  Thinking, Government, People

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• No matter what the provocation, I never fire a man who is honestly trying to deliver a job. Few workers who become established at the Disney Studio ever leave voluntarily or otherwise, and many have been on the payroll all their working lives.

  Walt Disney

  Jobs, Business, Men

  Walt Disney, Kathy Merlock Jackson (2006). “Walt Disney: Conversations”, p.45, Univ. Press of Mississippi

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• We've got to fight against bigness. If a school gets too large, you lose an intimacy with the students; they begin to feel they're just part of a big complex. I don't think you can create too well in a big plant. That's why I always tried to avoid bigness in the studio.

  Walt Disney

  School, Fighting, Thinking

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• I wanted to retain my individuality. I was afraid of being hampered by studio policies. I knew if someone else got control, I would be restrained.

  Walt Disney

  Being Yourself, Individuality, Would Be

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• I worked three and then six hours a day in my studio with strict discipline and emotion. I obtained awards usually granted to other foreigners during the end-of-year admission tests.

  Ralph Allen

  Awards, Years, Discipline

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• A movie studio is the best toy a boy ever had.

  Orson Welles

  Art, Boys, Toys

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• As a young person, you have no fixed address, no studio, no money for materials, so I made things sort of on the run. That life doesn't favor the stability and spatial demands of painting.

  David Salle

  Running, Demand, Addresses

  Source: www.interviewmagazine.com

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• I find it a little stressful when you're in a really nice studio and you feel time ticking and the bill getting higher.

  Yukimi Nagano

  Nice, Getting High, Littles

  Source: www.interviewmagazine.com

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• I really like our studio. It's definitely not in any way slick; it's very homemade, literally. Everyone has their own room to produce and write, and [there's a] big rehearsal space.

  Yukimi Nagano

  Writing, Space, Rehearsal

  Source: www.interviewmagazine.com

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• Everybody's able to pour into each other creatively, and pop into the studio and pop out. It feels like a community. As an artistic community I think it's really cool.

  Mikky Ekko

  Thinking, Community, Able

  Source: www.interviewmagazine.com

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• Sometimes you're a psychiatrist and sometimes you're a group therapist. The dynamics in between people and the misgivings sometimes that artists have when they get into the studio because they're under a different level of scrutiny. A lot of them can be insecure about it. My job is not simply to make musical determinations but sometimes to just keep people from flipping out during the process.

  Todd Rundgren

  Determination, Jobs, Insecure

  Source: www.avclub.com

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• I had some pretty lucky and good living situations; thankfully I never got forced out of an apartment. A lot of my friends got evicted or pushed out and couldn't afford a new place. For me, I wanted more space to set up a home studio, but there was no way to afford that.

  Mikal Cronin

  Home, Space, Way

  Source: www.interviewmagazine.com

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• To me the most important thing is getting into a studio and making an album that is 12 or 14 amazing songs, getting up onstage, and making people happy by livening the rock.

  Dave Grohl

  Song, Rocks, People

  "A Few Good Foos from a FOO FIGHTER". Interview with Ray Rogers, www.interviewmagazine.com. May, 1997.

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• It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing. If everything was as you imagined it to be, it just wouldn't be as much fun.

  Dave Grohl

  Fun, Ideas, Trying

  Interview with Kyle Ryan, www.avclub.com. August 9, 2006.

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• The normal Hollywood approach is to have a super-charged production company and then go to the studios for distribution and marketing.

  Robert Simonds

  Marketing, Hollywood, Normal

  Source: www.hollywoodreporter.com

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• My goal from the very beginning was just to write good songs that don't require any production to be felt or understood. I wanted to be able to sit in a room with a guitar and play the song from beginning to end and have it be as impactful as if you heard the studio version with all the bells and whistles.

  Madonna Ciccone

  Song, Writing, Guitar

  "Pop Sovereign: A Conversation With Madonna". Interview With T. Cole Rachel, pitchfork.com. March 2, 2015.

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• I spend a lot of time working and with my family, so I don't have much time around the edges to do much else. I don't really listen to a great deal of music. I love music, but since I spend a lot of time in the studio, we probably watch a movie rather than listen to albums. I get to hear stuff, but not on the grand scale.

  Kate Bush

  Albums, Watches, Stuff

  Interview with Ryan Dombal, pitchfork.com. May 16, 2011.

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• When I was first writing, I used to sit at the piano and play songs - I'd write one or two a night. It was my hobby. At some point, it then became a process that was mainly done within the context of the studio, and writing became part of the recording process.

  Kate Bush

  Song, Writing, Night

  Interview with Ryan Dombal, pitchfork.com. May 16, 2011.

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