My parents are artists; in their world, in the world of modern artists, you are supposed to just go into your studio and tune everything out, and your entire relationship with your work is supposed to be a super private one. That was the way to do it...
If I'm in the studio, I'm completely on music. I try to go to that place and that's the toughest thing for me to do. When I'm with other musicians, sometimes I go back to, almost like, childhood, because that's what I always wanted to be.
It's much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you're a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make mus...
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the ...
When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do...
I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio ...
Latinos are the fastest growing minority, and we're obviously not going anywhere. We're extremely loyal as a people, and I think Hollywood is starting to recognize that. It's very rare for a major studio to nationally distribute a film with Latino ta...
The game is No. 1. You are an adjunct to the game. In a studio, there is no game. You are the star. That's why you are there. For the game, you can't go away from the game and beat your chest. People are there to watch the game. You are there to supp...
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.
I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.
There's a million new people in the studio every day creating new stuff so I really had to be on my toes with this one so I could get it out before somebody else could.
I've tried a few times to depart from what I know I can do, and I've failed. I've tried to work outside the studio, but it introduces too many variables that I can't control. I'm really quite narrow, you know.
I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.
For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.
Women are usually only interesting to studio executives when they are fecund, between the ages of 15 and 30. I decided to get through the really tough patch, around 50, by just cutting my price and playing ten years older. I didn't want to have to wa...
What difference does it make whether your work is appreciated or not? The work will still be yours. Anyway, most of us are only appreciated after we are dead.
I get so fed up with the making of an album taking over my life - it's all I can think about or talk about. You find yourself in a rut and lacking inspiration and it's hard to get out of that because I'm working alone in the studio.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
There was something unmistakably exultant about the mess that Rosa had made. Her bedroom-studio was at once the canvas, journal, museum, and midden of her life. She did not “decorate” it; she infused it.
When I see you, my darling, in the morning before showers or in your studio covered with paint with your hair matted and tired eyes, I know that you are the most beautiful woman in the world.
Jo told me once that she was an old woman everywhere but in her studio. “There I’m only myself,” she’d said. Standing in the middle of masterpieces that only Jo had ever seen and touched, I knew what she meant.
