As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
Being on my own in a studio is really, really different than making music with the band. I can't say I necessarily enjoy it more, but it was just a new experience for me.
I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.
My family is full of musicians, and a couple of times a year we get together and jam at my cousin's studio. We improvise and have a great time.
I was amazed and upset by the looks I got just walking around the studio... It illuminates the ugliness and the beauty that exists within each of us, and that's what this story represents to me.
Eventually, when I sell enough units, as they say in the record business, I will stop touring. I'll concentrate on what I like to do... stay in the studio.
We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
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.
I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.
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.