Studios Quotes
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I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
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My ideas come when I least expect it, so I've always got to have a studio nearby or close by somewhere.
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You write a screenplay and then everybody is going to want to get in on it and we have to figure that out. I've written three screenplays that are at studios and I still haven't been making them yet so there is always something that is either going to trip something up or maybe get another pass.
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Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
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I can never remember what I do even in the studio.
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When I'm in the studio, there are no boundaries.
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I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.
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I lived in Boston for four or five years and would commute to New York to play gigs. New York City became so expensive, all the recording studios started shutting down because they couldn't afford rent anymore.
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In the studio, if they need to come down to the floor, things are a bit pushy, although it is easier for them to say things directly rather than through about five people.
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As opposed to coming up with something fantastic and trying to sell it to a studio, now all you have to do is get people to believe what you believe.
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I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
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I don't think an NC-17 rating is the kiss of death. Nor do I think that, in the hands of the right filmmakers, studios have a preconceived notion to pass on NC-17 material.
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We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.
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Some friends and I, we went right up there behind the studio and we got on a train, we could tell it was going to go to Roseville. We got off it and got on another train. And we got to Roseville, and it takes hours to get through that yard. It's really big. So we ended up just coming back here. It's like fishing or hunting. You can't always come back with something.
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You knew everybody at all the studios and you saw them often.
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In order to be artists we need to be in our studios, in our private rooms... in our private personal space... that sacred protected space, so we can make our work. That's the only work that's worth making, right? That's the place where we can be free enough and vulnerable enough to share what we have to share.
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I love collecting; my joy is finding private press American or European home studio electronic music from the 60s and 70s.
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Studios always seem to be in basements without natural light and with black everything.
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Studios are run by those who are way too old or mostly young, who don't think creatively.
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I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
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Every time I'm not on a project, I'm writing or in the studio or doing gigs DJing.
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A lot of actors said they hated the studio system, but I loved it. It was like a college; it was a great place to learn.
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When I was born, they didn't work. They're broken, the nerves in my lower left lip. When I was kid, I would talk out of the side of my face. When I was 16 and came up to Hollywood from Orange County, I was in this cattle call audition for Batman and Robin at Warner Bros., and they interviewed me out front of the studio. When I got home, I was like, "Oh, this was exciting!" But then when I watched the news, I was like, "Mom, what is wrong with my mouth?!"
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I was scared every time I put on a uniform and stepped on the field. I’m scared every day I go into the studio and I come on stage because I fear that I will not live up to what is expected. I fear that somebody who spent a lot of money to come into our studio, to come to New York and they’ll walk away and go, ‘I could have stayed at home.’ I feared that as a player a fan would come to the stands and I wouldn’t perform well. Just the way I’m built. I’m more scared of failure than I am excited about the accolades that come with success.
