For me it is a matter of respect for the ideas in the work and the people who look at them. I absolutely hate it when works come back to the studio for repair, and I try to make sure that they never do.
Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.
The studio keeps notes on the details of editions and production processes and the like.
[Baz Luhrmann] is very serious - he wants it done and he wants it done accurately. He was in the studio actually when I recorded "Everybody's Free." I remember meeting him and him being amazed by my voice.
The internet seems to be what a lot of independent bands are doing these days. They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.
Generally I'll keep 95% of what I sing on that first scratch vocal take. Sometimes that idea will ferment for a long time, and sometimes I"ll be close enough to my studio and have enough time (kind of rare these days) to go and work on the idea. Not every song is super easy though.
I find that I have done a pretty good job of fusing all three of them so far and I intend to get better at my craft. This is the reason why I am always eager to learn new stuff, especially from those who are more experienced than me. I am like a sponge. My ultimate goal is to open an animation studio in St. Lucia.
[Donald Trump] not going to be sitting in studio acting as the executive producer of The Apprentice. I think that's Mark Burnett and that's the way it's going to be.
I had improvised a lot in classes and at the Actors Studio, but I never did it in front of the camera.
Got in the studio at sixteen, [and] that's when I felt like I wanted to make this a career. I had a passion for it.
I started writing "Peace Trail" here in Colorado, then I went back to California. I had a few other tunes going around in my head, so I had a couple of them finished after a few days and then I wanted to go into the studio.
Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.
On my very first show, my partners in it, Oprah Winfrey and her network, and studio, Warner Horizon, who doesn't get enough credit, said, "Lady, we're going to let you call the shots the way you want to."
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.
The heads of the studios, like Louis B. Mayer, didn't want to create any more musical stars. So Bobby [Fosse] left and went to New York City to be a choreographer, and created brilliant work.
Near the end, she [Marilyn Monroe] was badly treated by Fox Studios, during the 'Let's Make Love' film shoot in 1960, they threw her off the set because she had a cold.
For context, the budget of Don Jon is about half the budget of (500) Days of Summer. And (500) Days of Summer is about a third of the budget of the lowest-budget movies produced at a major studio.
One day, I just decided I'm ready to go. So I went down with my guitar and sat on the front steps of Sam Phillips recording studio.
I met Sam Phillips when he came in [studio] and I said, I'm John Cash. I'm the one who's been calling. And if you'd listen to me, I believe you'll be glad you did. And he said, come on in. That was a good lesson for me, you know, to believe in myself.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
I push my own limits every day, every moment - in the studio, on the stage and beyond so it's truly a genuine fit.
If I was at the Comedy Cellar at midnight you yelled at the back of the room. But you, for television, play it to the camera because yes you're communicating to the people at home using the studio audience that's right in front of you as a guide for that.
Basically, I wake up at nine o'clock in the morning, go to different record stores, go to the studio, think up different ideas for songs. Just workin'.
Success for me is just having a job and have the studio feel confident that I can go out there and make a movie that people will enjoy.
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