There's always music sitting around, but when you're cultivating music, the idea of getting into a studio and compressing it to get something out on time can be really good.
I look forward to the future - and going into the studio to make new music.
'Perfectionist' is the scariest word on a studio lot.
New media has made it possible for filmmakers like me to get their message out. No big Hollywood studios are needed anymore to make and release a film. More and more people are watching movies and television online than going to the movie theater because of costs. This freedom gives me the opportunity to create the film I want to be seen and heard.
In L. A. , I live right across from Universal Studios.
Studios are passe for me. I'd rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.
There’s nothing like a good ol’ film light in a fogged up studio.
I had written three books [Games of Throne], at that point, and each one of them was better than the other. At a certain point, as the books were doing well, I started getting interest from Hollywood, from various producers and studios who were initially interested in doing a feature film. I met with some of those people and I had phone conversations with some of those people, but I didn't see it being done as a feature film.
When I'm in the studio, there are no boundaries.
I started off as a studio pianist in Hollywood.
I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
If I had a place with a studio where I could paint I'd be happy.
I do love being in my studio. Especially at night.
I'm always working. If I'm not in my studio I become quite nervous.
I like to explore a lot of textural, arrangement aspects in the studio.
Writing on a contract for a major studio you get the very best.
I'm not used to studios being ecstatic about we did and saying, "Please go do that again. "
I work very hard on getting the songs as direct and examined as I can before I go in the studio.
Relatives cannot help you in the studios. You stand or fall by your own efforts.
When you go on a movie set, there used to be one woman: script supervisor. Now they were in all capacities in addition to heading studios. So that's the biggest change of all from the early '50s, when I first started.