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I was lazy. I would have been a hell of a lot better actress had I taken it more seriously. I never had the proper respect for acting. Quite often, I learned my lines on the way to the studio.
I don’t care if people perceive me as always selling out because I’m doing a studio picture. For me, the whole thing is you should be diverse in your choices; that’s the beauty of being an actor, you should be able to do that.
It’s a great time to be a comedian because you’ve got so much more control. You can say what you want to. I think in the old days with the studio system the performer was a bit of an afterthought. You can be a wildcard on the internet. But if you put something on the internet once it’s out there it’s out there for life.
In the studio, I always put on National Geographic for inspiration. Looking at lions eating gazelles, all that type of stuff.
When you’re playing live, those people who you’re trying to please and reach, they’re right there giving you feedback. And you don’t get that feedback in the studio.
Every single time I step into the studio, I say, ‘Can I still do this? Do I still have it? Have I ever had it?’ I suppose there’s a good amount of self-loathing that goes into any form of artisanship.
Imagine the first time you are about to rap in a studio and you find yourself in a booth with Redman and KRS!
I just go in the studio and write on the spot and see what comes out.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
Studios are used to have an investment in you, an actual, literal investment in an actor. You paid them some money, you had a contract with them and you were almost like a commodity.
I’ve had various experiences where I’ve been called by Hollywood studios to look at a script or comment on various scientific ideas that they’re trying to inject into a story.
Consider this ‘re-make’ business that is taking away opportunities for new ideas and new films to happen. If the movie was made right the first time, why make it again? The only reason this is happening is it has become a safer way for the Studios.
There are a few pretty fundamental differences. In voice acting, if you are doing game recording, for the most part you are going to be by yourself in a studio. With game voice acting you are constructing everything for yourself pretty much. You’re thinking about what the other characters could be doing, trying to imagine the scene, you’re constructing the entire environment for yourself.
New York City is a place where you can lock yourself up in your little studio apartment, and not go outside at all, and not feel in the slightest guilty about it.
Onstage I like to play with a an 18-inch speaker, which very few bass players do. I need that fat, underneath sound, which I’ve always had. It suits me admirably to do it like that, and I can imitate that sound by plugging directly into the board in the studio.
My own personal tastes don’t really have an effect on whether song is a parody target or not. But having said that, I try to pick songs that I actually like because I realize that I have to live with these songs for a long time, from when I’m working on them in the studio to possibly playing them onstage for the rest of my life. So I try not to pick songs that I know would drive me crazy.
I’M FRUSTRATED, because pop culture, music and movies glorify these types of police citizen altercations and promote an invincible attitude that continues to get young men killed in real life, away from safety movie sets and music studios.
You should learn to be happy with what you have. Besides, the fact that I’m not a huge star has allowed me to pick and choose the roles I want to do, not the ones some person sitting in a studio office thinks I should do.
It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time.
I like to go into the studio and let things happen. I like to just let the session take on. I don’t want to have to clock in at nine and end at eight. That’s just not me, that’s not how my creativity flows.
By the time I’m in the studio recording my parody, 10,000 parodies of that song are on YouTube.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
I’ve never done a big studio film, I’ve only ever done little ones.
Hollywood studio executives don’t recognize the value of female performers as much as male performers.
Objectively good spaces to work rarely end up being so; in their faultlessness, quiet and well-equipped studios have a habit of rendering the fear of failure overwhelming. Original thoughts are like shy animals. We sometimes have to look the other way – towards a busy street or terminal – before they run out of their burrows.
I think what traditional studios probably don’t understand is that it’s a genuine advancement in the actor’s tradition. And you know, the tradition and craft of acting. And it’s the latest step. You know, we, we tend to find forms of delivering stories that fit our times.
Where did I learn to understand sculpture? In the woods by looking at the trees, along roads by observing the formation of clouds, in the studio by studying the model, everywhere except in the schools.
A studio is an absolute labyrinth of possibilities – this is why records take so long to make because there are millions of permutations of things you can do. The most useful thing you can do is to get rid of some of those options before you start
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
Typically I go in the studio and whatever I’m contemplating that day will wind up being a song. I don’t come in with lyrics… I just go in and let it happen.
I’m never tired of going to the studio. I enjoy recording and documenting everything and trying new things.
With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I’m teeming with the drive to write.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.
If it takes you three years to set up a studio, and you’ve made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.