I mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.
I was a dancer of no repute. But dance taught me a lot. You walk into a dance studio knowing you have to walk out with a dance. You improvise.
The major studios don't differ very much from one another as they all operate under essentially the same principles and pressure.
I don't get much studio stuff. I'm usually on location, and I know that some people think that acting is so glamorous, but believe me, it's not!
Yet, that's what studios do. If one thing works, they'll keep doing it till it runs its course and people aren't interested anymore.
I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
I'm a big micro manager; I'm a stickler about organisation; everything needs a place, a purpose, and micro managing myself even when I'm in the studio.
Social media is a double-edged sword. I've gotten in trouble for announcing, too soon, something that the network or the studio wanted to do, and it steals some of the thunder, so to speak.
I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.
If you start out trying to achieve a specific thing - like doing stadium shows or going into the studio and doing an album - the end result is what counts.
In a way, I was spoon-fed, if you will, a career. It was fully manufactured by a studio that believed that they could put me on their posters and turn me into their bottle of Coca-Cola, their product.
I probably am more shy than people realize. But I'm shy when I leave a studio and I am just myself.
I had three influential teachers. The first was Uta Hagen. The second two, Bobby Lewis and my late husband, Charles Kakatsakis, were both from the Actors Studio.
I always wanted to be a full-time musician. Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.
I'd just recorded it in Mariah Carey's studio. THey thought the song was perfect for Nina, because she's so shy, so it was nice to have that connection with Nina in the song. It was special.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
