Studio Setting Quotes

On Letterman and Leno, it always bothers me when they go outside the studio and it's daytime.

At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.

Age don't count in the booth.

I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.

The live performance aspect of shooting a multicamera sitcom is wonderful. You have that instant audience reaction.

Once we get them in the studio, you interview a person the same way you would interview another. You ask them a question. You let them answer. You try to listen closely and then ask a follow-up.

You have to collaborate with the moment and the environment. It kind of was magnified by the house being a studio.

No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic.

Our studio is in the middle of an oil refinery. There's smoke and fire around it and when you emerge from the studio you hear this hissing sound all around you.

You know, it's nice on a sitcom to have an audience there, but there's still a wall of cameras between you and them.

In the studio the director controls the actor's every move, every inflection, every expression.

No one would bring their horse into a studio, because they don't want to bring their prized animals into an environment where they wouldn't be comfortable or where they might panic and hurt themselves.

I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.

You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.

We seem to do better in the studio than we do in a live environment.

The game is No. 1. You are an adjunct to the game. In a studio, there is no game. You are the star. That's why you are there. For the game, you can't go away from the game and beat your chest. People are there to watch the game. You are there to supplement, not to override or overwhelm.

The thing that's characteristic of my performance is that I literally do drag the whole studio onto the stage.

I never liked dance photography; it's very flat, and dance photography in the studio looks very contrived.

We've got to fight against bigness. If a school gets too large, you lose an intimacy with the students; they begin to feel they're just part of a big complex. I don't think you can create too well in a big plant. That's why I always tried to avoid bigness in the studio.

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great.

I always wanted it to be multi-cam from the beginning. In the first seeds of the idea, I wanted a live audience, multi-cam show. That was very important for me.

It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.