I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
I have a fantastic studio in my home, and it's my biggest toy. I have about a half a million dollars worth of musical equipment in my house.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.
I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.
I much prefer touring to anything else. Studio work is great, and can be hugely satisfying, but live work has the excitement and the lifestyle that I love.
I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
It would be great to have Bach in one corner, Bessie Smith in another, John Lennon in another. That's what I'd ideally like. A studio of the dead.
I tour more than I need to, more than is good for you. But it's my favorite part of music. I much prefer it to studio work.
It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.
Well, my closest friends are still the ones that I went to school with, but it's nice to go to work, at the studios, and have people there that you're willing to talk to and have a good conversation with.
Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know.
I acted in theater and I took film classes when I was 12 and just obsessed over it. I loved it and spent hours and hours in the film studio learning and watching.
I love ballet. Ballet is its own being. It has its own vocabulary. I feel as if I am in a different world when I am in the ballet studio.
I don't wear a wig. I'd feel terrible onstage with a wig. I hate to be so 'Actors Studio'-ish, but I like to feel it's me out there.
I have a real interest in pushing some of the limits of things that studios don't want to make.
The thing is, the studio then forget that you're an actor and that you can do other things, and so since they pay you for that, they don't want you to do anything else.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
I am currently talking to one of the studios about making American Star as a TV series.
When I am having my picture taken, I channel Beyonce. In the studio, my inspiration is Adele.
