I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.
The single most exciting thing that happened for me was getting to spend some time in the studio with both Marty Stuart and Vince Gill.
I really think of the studio as being like craftsmanship time, and then playing is about releasing energy, and the two are really different.
At any one time, I'll have 30 to 40 pieces going on in the studio, so this is not economically driven at all.
Norma Desmond: Without me, there wouldn't be any Paramount studio.
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.
Having a studio tell you when to jump and how high eight months of the year for six years is not a relationship I want to get into again.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
Some people are denizens of the studio. I'm more of a denizen of the live appearance. I love the live thing.
My studio is a laptop. Everybody I work with is the same. We make computer music, we're the laptop generation.
I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.
If I'm painting, I paint every day. I'll be up in the studio from 8:00 in the morning to 8:00 at night.
I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
Hollywood studio executives don't recognize the value of female performers as much as male performers.
Then, as now, the Disney studio buzzed with activity. You had a strong impression of being at the center of something very exciting.
I never learned to study in studio school, so I had to teach myself to study.
Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
Most architects work in studios largely divorced from academia, as if ideas, criticism and historical research were irrelevant.
We work hard when we're in the studio, but then when we take our breaks, we walk outside and look around.
I work very hard on getting the songs as direct and examined as I can before I go in the studio.
When I get in the studio the idea is just to work and bang out as many as I can.
