quote by Eddie Van Halen

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

— Eddie Van Halen

Unconventional music studio quotes that are about dance studio

My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.

My studio is designed for atmosphere.

I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.

In the studio, I do try to have a thought in my head, so that it's not like a blank stare.

When German soldiers used to come to my studio and look at my pictures of Guernica, they'd ask 'Did you do this?'. And I'd say, 'No, you did.'

Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

A German officer visited Picasso in his Paris studio during the Second World War. There he saw Guernica and, shocked at the modernist «chaos» of the painting, asked Picasso: «Did you do this?» Picasso calmly replied: «No, you did this!»

I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.

I have always avoided photographing in the studio.

A woman does not spend her life sitting or standing in front of a seamless white paper background. Although it makes my life more complicated, I prefer to take my camera out into the street... and places that are out of bounds for photographers have always had a special attraction for me.

California, that advance post of our civilization, with its huge aircraft factories, TV and film studios, automobile way of life... its flavourless cosmopolitanism, its charlatan philosophies and religions, its lack of anything old and well-tried rooted in tradition and character.

Perhaps the place to start looking for a credibility gap is not in the offices of the Government in Washington but in the studios of the networks in New York!

I think of my studio as a vegetable garden, where things follow their natural course. They grow, they ripen. You have to graft. You have to water.

Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.

I don't go into the studio with the idea of 'saying' something.

What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.

I've made three studio albums and one live one with my brother.

It's melodic singer-songwriter acoustic-rock music.

I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.

The studios will go wherever they smell money. It's like sharks to the blood.

Nothing in the world can be compared to the human face.

It is a land one can never tire of exploring. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.

When I was starting out, young actresses had the studio system to protect them.

Now you have a host of sharks, from your agent to your publicist to your lawyer.

You can build radiant health, success and happiness by the thoughts you think in the hidden studio of your mind.

I always prefer to work in the studio.

It isolates people from their environment. They become in a sense... symbolic of themselves. I often feel that people come to me to be photographed as they would go to a doctor or a fortune teller - to find out how they are.

You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.

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.

So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

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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.

I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.

The photoshoot glitz and TV studio make-up isn't the real me.

I spend most days at home in Bristol in jeans and a T-shirt running around after the kids or shopping in the Co-op.

My old man was a musician - that's what he did for a living.

And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.

With studio work, I'm always the bottom man on the totem pole.

You can't do psychological thrillers.

There's no audience. I've heard this. I've heard this from studios.

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 into hiring me because they didn't want me.

When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.

The upside to smoking is that you get to be social.

I was looking for a light when I bumped into Ben Harper's manager. A couple of days later, Ben and I were in the studio.

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