Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'
Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
You've got to put interesting people around you; you've got to work with people who are gonna inspire you to take the songs you've written into a completely different direction, because there's nothing more boring than going to the studio and predict...
When you're playing in front of people, everything is external. It's all going from you out to an audience. When you're in a studio, it's very internalised, it's going from the air through you into this meticulously crafted, layered piece of work.
When you're on tour, you're trying to get the crowd involved and really sing and perform to them. When you're going to write and be in the studio, it's like, 'Now I have to think about me.' That's the mind-set you have to work with.
To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.
Robert Downey Jr. doesn't work out like us regular folks. Adulation bathes him from the moment he arrives at his Los Angeles martial arts studio.
I have been very fortunate to be able to work and get the opportunity to play different roles. It's nice to do big studio pictures and then work in Glasgow on films like 'Red Road' and then dress up as a vampire or an alien. I think that's why a lot ...
I was afraid of Korean food when I moved to L.A., let alone sushi. I remember thinking either sink or swim. Living here in Studio City, Ventura Blvd. is the Mecca of sushi restaurants. What you thought was so exotic is just run of the mill.
Playing live was always definitely a lot more fun. You picture it: working alone in the studio eight or 10 hours a day with nobody else there, being frustrated and driven crazy by all of the things that you have to deal with, vs. thousands of people ...
Growing up, I was obsessed with Disney movies like 'The Little Mermaid,' 'Aladdin' and 'Beauty And The Beast.' I was always singing the songs from these movies, so to find myself in the studio with Alan Menken was an amazing experience. In fact, it w...
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
The Stones were always exemplary of one of the best of all rock qualities: tightness. They have always been economical, the opposite of ornamental. Having a very clear idea of what they wanted to say they could go into a studio and make it all up on ...
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
I think that probably the - I don't give quotes to studios. They have to get those out of the paper or from television. So they wouldn't have had my quote opening day.
I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.
The first day was memorable for me. I walked into this studio with these giant eyes, slowly met everybody and got to see the story boards and sketches of our characters. I got the see the sets and was just amazed that all this was to be something we ...
Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.
I got my first show at Blum & Poe because Paul McCarthy postponed his show, and they came to my studio and asked me if I could put together a show in two weeks.
I loved to dance and went to Studio 54 at least twice a week. But I always felt nervous around the people there. I was in awe of that whole Halston-Liza Minnelli crowd. To me, they were the real celebrities, and I was just a girl from Idaho.
