The best advice he gave me was to carry on. It would have been difficult to set foot back inside a TV studio if I hadn't carried on - I don't know if I would have ever gone back in.
I thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
When I was 12, I was doing competitive jazz, tap and ballet in Michigan. The studio put the best dancers together, and I joined that. We always did really, really well in local competitions.
It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!
My son and I run a string company, and he has a studio there, and I go down sometimes and we'll record.
Democracy in the studio is overrated. What you wind up getting is compromise on everybody's part, which means that nobody has their way, and that means nobody wins, including the fans.
'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
The brains of members of the Press departments of motion-picture studios resemble soup at a cheap restaurant. It is wiser not to stir them.
After Nashville sushi and a long debate on Bob Dylan, we went into Woodland Studios at 10 pm that night for a look around, and jammed for 5 hours solid.
It's a cute little studio apartment that has just what I need: a bed, a couch, a table, a chair, and a coffee-maker.
I'm doing lots of interviews and stuff. I'm longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
JK Rowling combines the ideas and imagination of an entire Hollywood movie studio with the precise execution of an extremely efficient dictator.
In the studio, if they need to come down to the floor, things are a bit pushy, although it is easier for them to say things directly rather than through about five people.
I much prefer the road. My thing is getting live in front of people. There is a sterile environment to a studio that doesn't make me let go.
I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.
I am a laptop boy. People say: 'Where's your studio?' I say: 'It's in my laptop, in my rucksack.'
Writing 'We Are Never Getting Back Together' was one of the most hilarious experiences I have ever had in the studio because it just happened so naturally.
We did some jumping at the start of the show. We went out without telling anyone - and the studio liked to kill us. They were threatened with cancellation of their production insurance.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
