Studio Collaboration Quotes

It's nice because success has allowed me to have a blast on stage, to be in the studio with amazing people, but I find it all a bit bizarre.

Not many people get that chance to have multiple studios wanting you to make a movie with them.

When we do a movie with the studios, they wouldn't be asking us to do it, I don't think, if it was a movie they wanted to get into themselves. What you see is what you get with us, so they let us do what we want to do.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

In many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio; we build the songs that way.

From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.

You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

When you write and direct your own film, you basically know exactly what you want. Or you hope to. For the studio, it actually can make life a little easier, because if you have a bunch of questions, they only need to call one person.

The driving factor for me is having DC as one company together ourselves. Our ability to work more collaboratively with the whole studio is certainly a benefit.

In a studio situation, I'm able to dig deep and come up with stuff that all the guys think fits the vibe of the song. And I think that's partly due to the fact that I grew up listening to just about everything under the sun. I'm very open to music, and I like to do things in a traditional and musical way.

Atlantic reckoned we should use a top Yank producer and appointed one Eddie Kramer to the post. It turns out the guy was full of bullshit and couldn't produce a healthy fart.

It doesn't matter if they're famous or not - I just want to meet other creative people who can maybe bring something different to the studio than what I have. I think that's the most important thing for me.

The relationship with a producer and an artist is really special. It's got to be love and respect, amazing mutual respect for each other, because that's what makes a good record.

I'm not the only one in the studio a lot of times, so I have my boys in there and they'll tell me and give me their suggestions and what they think.

Some songs started from a bass line, some started from having the full lyric and Jim, my drummer, who's also the first guy I've been in the studio with him since 16, sometimes he'd have an idea and I'd put a lyric to it and then the track evolves, there's no set way to write a song.

In making a record there are so fewer people involved - at least in our case. There were no more than three or four people in the studio at once. So I really feel like I can stand by everything on the record and say this is something that I personally endorse.

I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.

All my idols have been in the studio with me, because they wanted to be there.

I think I learned the most from Eminem because I spent the most time with him in the studio. Going to L.A. with Dre was a learning experience, just seeing how the dude works and being up-close and personal with a dude whose music I appreciated growing up.

When you get to know an artist, you find out the things that have peeved them over the years, and it's generally the stuff that has to do with somebody not wanting to do things their way in the studio.

I did a couple songs with this hip-hop guy named Tim Dark. He was working in the same studio I've been working in, he heard my music and he said, aw man, I've got to do something with you.

More and more what we're licensing, we're licensing on a global basis - even though the studios aren't orchestrated to sell that way yet, my bet is that they will.

If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.