I am currently talking to one of the studios about making American Star as a TV series.
Literally as I walk into the studio I say, "God, hollow me of all my junk. Hollow me of my insecurity, my pride and my doubt. Make me hollow enough that you can breathe something through me that would turn eyes to you." And whether that's a song or a conversation you're going to have with a co-worker, or whatever you're facing, that's for everybody.
I love the city. I love the energy of New York and what happens here. But I'm very happy I don't live in the city on a daily basis, because I really do spend a great deal of my time, when I'm not on the road, in my studio - everyday, everyday, everyday.
People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.
For me, reggae music and its aesthetic are touchstones in both simple and complex ways. Reggae's capacity to be a folk music that is created in a wholly modern context of the recording studio (and sometimes that is the sole performance space) is riddled with the kinds of contradictory impulses that we have come to expect from the post-modern. I revel in this, for it gives me, shall I say, permission.
I think all you can really do is use the tour to kinda fill up with experiences and thoughts, and then, when you get back to the studio, or in some type of creative environment, that's when you release everything that you've encountered on tour.
If you can't categorize a film for a studio, it's really difficult for them to wrap their heads around it and give you the money.
If I had a choice about going to a meeting at a studio or changing a nappy, I'd choose the nappy.
Black Sabbath was written on bass: I just walked into the studio and went, bah, bah, bah, and everybody joined in and we just did it.
I try to devote my afternoons to making music in my home studio, but it's a lot more fun hanging out with musicians and friends, and trying subtly to influence a band than making your own stuff.
Probably the reason it's a little hard to break away from the album format completely is, if you're getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you're going to all the effort of performing and doing whatever else, if there's a kind of bundle.
Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.
I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no-one else can make them.
I love to go to the studio and stay there 10 or 12 hours a day. I love it. What is it? I don't know. It's life.
When my wife died, I booked myself into the studio just to work, to occupy myself.
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
The plan was criticized by some retired military officers embedded in TV studios. But with every advance by our coalition forces, the wisdom of that plan becomes more apparent.
I have a real interest in pushing some of the limits of things that studios don't want to make.
There's the famous thing that the A&R man from the record company is supposed to do: He's supposed to come into the studio and listen to the songs you've been recording and then say, 'Guys, I don't hear any singles.' And then everybody falls into a terrible depression because you have to write one.
I mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.
I never thought I was particularly good looking. But when I see old photographs, I realise that I was. I do wish I had known that at the time because beauty is power. I didn't realise how lucky I was to be young, beautiful and in Hollywood. It didn't hit me. Every day I woke up, went to the film studio and just got on with it.
If Miles Davis hadn't died it would have been interesting to do an album with him, but there wasn't much else that would have got me into the studio... although Herbie Hancock has just been in touch about doing something and that would be an interesting combination.
We wanted it more live and raw. We didn't want a studio sound.
Being a former theater student, of course, there is a part of me that is fascinated with stage crafts and what you can do with illusions and working within the confines of the studio.
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