What I did was go into the studio and make music that I love. Make music that when you hear it, it feels good. Whether it was urban inspired, dance inspired, HipHop inspired or it just feels good period.
I repeat it until it works. It is important to record, otherwise you lose ideas. That's why I never stay away from the studio, I always [have] something to ask.
I'm always in range of a microphone. I even have a studio at home.
I'm peripheral in Colab's history because others were involved in media, filmmaking, and music, and I was always a studio artist.
When studio art started being seen as important, I joined Colab, and then I became very involved.
I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.
My little boy (Sasha) is now one-year-old and that makes it easier for me to go back to the studio and work on creating new music.
I'd love to find a small movie that someone would sign off on me to do. I have no aspirations to do a big studio film because I don't think anyone would let me.
Art is my 'solo career' if you like. Musically, as a bass player, I depend on other musicians to play, whereas, with painting, I'm on my own. I find it quite easy to switch heads and I enjoy both the mayhem of being on tour and the serenity of being alone in my art studio.
[Maxine Waters] was kind enough to join us here at our studios in Washington, D.C., in advance of women's march in Washington in which she will be participating.
For me, something that's been always really important to me, that's also really served me well in hindsight, is doing different things, trying to cross different genres, and dipping my toes into comedy and drama and action here and there. Fortunately, as I've been working, the industry has also changed where you're able to dip your toes into different mediums, where it's not just independent film and studio film, but now you've got TV, and you're able to do all these different things. For me, it's just a matter of continually pushing myself and challenging myself.
All my stuff is pretty seamless - like now, while I'm touring [Yesterday I Sang The Blues], today I'm going to go in the studio, I'm writing my next one. For me it's continual.
I've worked with a lot of people and I like to play with people when it's fun, and people that I have fun with independent of music, do you know what I mean? Where you can just joke and kid around, because you can joke and kid around with somebody and when you get in the pressure cooker of the studio then you can it's just something.
I love performing live, especially when I get in the zone. But the studio is really becoming a place I have grown to love.
It's dedicating yourself to your craft. Spending thousands of hours in a studio learning how to write a song, learning how to play different chords, training yourself to sing. You know, to get better and better.
If I could get myself to a place where I felt secure and I wouldn't have to kind of worry about money and I know my family would be secure, then I would leave the big studios so I could continue to make smaller films, and hopefully get to direct a few of them, too.
We were really fortunate to work [on Pineapple Express] with a studio that was really supportive of these guys. It was before Superbad and Knocked Up had even come out, but everyone just felt really great about them and the energy surrounding Seth [Rogen] and Evan [Goldberg] and Judd [Apatow] - all of these guys - and the idea of getting Franco back into comedy as well.
In the States it's more and more difficult to get an independent film off the ground, and you certainly wont get the opportunity to play something like that in a studio movie.
I am too conservative to use another studio than the one I am used to, so I "had" to travel all the way from France to Norway every time I wanted to record an album. That was about 3,500 km each way in a Lada Niva with a cruising speed of 90 kph.
At one time in the mid-'70s I became the president of the Boston-Cambridge chapter of the World Future Society. Because I'd been in my studio by myself since 1968 on up. And the thing is that my social life consisted of being involved in organizations like that. I would get people to come and speak, and speak myself and that kind of stuff.
You find this watered-down enlightenment sold in mass quantity at yoga studios, high-priced shamanism retreats, DJ-fueled Ecstatic Dance parties, ayahuasca ceremonies, and self-empowerment seminars. There's a hope for a quick fix - if only we have the money and right drugs for it.
Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.
At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.
Francis [Ford Coppola] was on the cover of Time Magazine for One From The Heart and for owning a studio, and he was fresh off of Apocalypse [Now] and The Godfather films, so he was at the absolute top of his game and legend [in The Outsiders ].
I imagined myself living in New York in some sort of open, large but sparse studio apartment with a lot of blond wood and a futon on the floor and a bubbling samovar of tea in the background and a big beard - living alone but with my beard - and doing theater. That's what I thought my life would be.
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