Studios Quotes
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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 look forward to the future - and going into the studio to make new music.
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It is not about whether you are an executive, a studio or a network. If you have a story or an idea you can build a following for it.
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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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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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I create women characters by watching the female staff at my studio. Half the staff are women.
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That's what I strive for every time I'm in the studio, to make sure that y'all love it and that I'm not giving y'all something I'm expecting you to buy. I want y'all to want to buy it and want to hear it again. If you like it, go get it, if you don't, throw it out.
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I can never remember what I do even in the studio.
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You knew everybody at all the studios and you saw them often.
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When I'm in the studio, there are no boundaries.
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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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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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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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Almost everything I learned about being an actor came from those early years at the Actor's Studio.
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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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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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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.
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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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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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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 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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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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It took a while for me to be able to sit in a room of studios and financiers and say, "I'm not some hoity-toity actress looking for a vanity deal - I really know how to make a film!" In order to do that, you've got to break your f-cking back.
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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.
