Studios Quotes
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Studios always seem to be in basements without natural light and with black everything.
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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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When we are in our studios, in our private space... we need to block out the outside world; we need to disbelieve anything that would doubt us, because - everyone will doubt us if we allow them that space.
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I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.
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I couldn't sell pills no more [because my] homie went to jail. I was just dirt broke. I went to TDE and was literally living in the studio where you record. I went damn near a whole two years not getting sleep because there was always somebody there recording. I was taking baths with dishwashing liquid.I was one of the dudes [who] would never ask for nothing so I would never ask for soap.
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Just writing and being in the studio was like therapy for me.
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In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.
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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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The fascinating thing about the studio was that there was no story department. They would put a little notice up on the bulletin board saying: 'The next Oswald will take place at the North Pole. Anybody having any gags, please turn them in before such a date.' If you turned in gags regularly, the way Tex Avery, Cal Howard, Jack Carr and two or three others of us did, you'd be called into the gag meeting. The group would go into Walt's office and talk about whatever the subject of the cartoon was. Walt would put it into some kind of form and that was the story--no scripts, no storyboards.
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I don't think anybody at the major studios is rushing to offer me a romantic lead.
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I feel that puttin' in the hours and years in the studio, honing my craft, definitely played a part, me consciously networking and presenting myself as an artist that's commercially sellable led to me meeting the right people, which in turn led to them givin' me positive referrals to other people, which in turn led to me signin' a deal.
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I love the magic of the studio.
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I always loved music and I always loved to perform, and that's my favorite part, to perform; my favorite part is not the studio, I can't stand the studio.
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I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.
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Studios, to cut through the clutter, want recognisable titles. But that does not excuse you, as a writer, from having an original story.
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I've only ever gone into studio films with people I really like.
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I'd love to find a small movie that someone would sign off on me to do. I have no aspirations to do a big studio film because I don't think anyone would let me.
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I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.
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Only the public can make a star. It's the studios who try to make a system out of it.
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(on Warner Brothers) This studio has more suspensions than the Golden Gate Bridge.
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I cannot tell you how many people, powerful people, come to my studio and they are in tears they are so moved by what they see.
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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 create women characters by watching the female staff at my studio. Half the staff are women.
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At any one time, I'll have 30 to 40 pieces going on in the studio, so this is not economically driven at all.
