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There is no set sort of rules, or no set sort of formula to the way we work in the studio ... so it's difficult to know ... what we'll move on to next. We don't like to say, "Never, no we'd never do this" ... But, we ... like the setup as far as there's only three people in the studio ... because the work is very personal, very intimate, very emotional ... and that is very important to the album.

 

Enya

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On the second album I worked with a lot of people that I worked with on the Metamorphosis album. And when I worked on Metamorphosis I was so nervous and shy about going into the studio and working with people, they eventually toward the end made me feel so comfortable and so secure with myself. I loved working with them. I have a great relationship with them. I talk to them [all the time]. When we started talking about the second album, I was like, "I want to work with all the same people." They knew what was going on in my life, what I was going through. I would call them and say, "I feel like this right now. I want a song about this..." I never really felt like I had enough time to write my whole album and I don't know if I'm secure enough with myself to do that. But I wrote three songs on the album, one I wrote with my sister. It's so personal and these people really got what I was going through and how I feel inside. I think that's what makes it good and that's what makes me relate to them.

 

Hilary Duff

 

"He chased us all round the studio and we had to lock ourselves into another studio to prevent him getting us. He was a big guy. He came in the following morning and he was alright. I think his management had had a word and said, ‘Look this album is going really well, it’s not a good idea to frighten the life out of people who are helping you make it’. He was quite pleasant, but he never apologised."

 

Martin Rushent

 

A visit to a studio never fails to test my resources. It constantly reminds me of the condition in which most people first confront contemporary art. This is a state of "not knowing", of "not understanding", of being disorientated or challenged by the unfamiliar. One of my responsibilities as a curator is therefore to remember that a visitor encountering an unfamiliar work of art in the museum is likely to be as unprepared as I was in the studio. But I've come to realise that it's precisely when I am most challenged in my own reactions that the deepest insights emerge.

 

Nicholas Serota

 

Say you've been to MGM (Metro-Goldwyn-Mayer) Disney Studios in Orlando, you'll know that there's an animation studio where you actually walk out of the back door of the animation studio and you're in a theme park. Now you say, hey, that's pretty cool. Could any animation studio have a sort of situation like that that is any cooler? And you think not. Well, you're wrong, I'd say, because here at Big Idea when we walk out our back door, We have the Timework button, we push the button, we open the door[...] and, we're in a mall. Disney has nothing on this. You can be animating one moment, buying candy by the pound the next, or taking a ride on a little train, or going to the food court.

 

Phil Vischer

 

Listen, I have no judgment about anything. Some people will bring certain celebrities up to me who are presumably — or known to be — gay and ask "Why don't they come out?" But we don't know why they don't, and it's none of our business, really. In '75 I was making the Modern Scream album, and Jane and I were in the studio. My publicist called me and said "Time will give you the cover if you'll come out." I was more offended than anything that they thought we'd make a deal. But that was '75 — it would have been a hard thing to do at that time.

 

Lily Tomlin