Studios Quotes

Got in the studio at sixteen, [and] that's when I felt like I wanted to make this a career. I had a passion for it.

A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.

Between the marriages, I shagged my way round television studios like a mechanical digger.

If a muse knocked at our studio door tomorrow, how many of us would even notice?

I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.

That's one of the things I haven't had time for in my personal life, is art, and I probably should make more time for it. I also don't have space where I'm living right now to set up a studio, but I'm sure at some point, I will.

I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87.

To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.

In the studio, I always put on National Geographic for inspiration. Looking at lions eating gazelles, all that type of stuff.

We were really fortunate to work [on Pineapple Express] with a studio that was really supportive of these guys. It was before Superbad and Knocked Up had even come out, but everyone just felt really great about them and the energy surrounding Seth [Rogen] and Evan [Goldberg] and Judd [Apatow] - all of these guys - and the idea of getting Franco back into comedy as well.

When I go into the studio, I'm strictly for business... I don't like any fooling around in the studio.

If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.

It's hard to get movie studios to pay a lot of money for movies that don't have robots or explosions.

A movie studio is the best toy a boy ever had.

I want to go create my own independent content and entertainment, in new models and in new ways, and essentially show studios and networks that people are good.

We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.

Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.

I see more and more that my work goes infinitely better when I am properly fed, and the paints are there, and the studio and all that... I wish I could manage to make you really understand that when you give money to artists, you are yourself doing an artist's work, and that I only want my pictures to be of such a quality that you will not be too dissatisfied with your work.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.

Day and night I try, in my studio with its six two-thousand watt suns, balancing between the extremes of the impossible, to shake loose the real from the unreal, to give visions body, to penetrate into unknown transparencies.

I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.

Who is writing these screenwriting books? Not actually writing for the studios in Hollywood. These are people that have one or a half of a credit on maybe one movie, or none. So they're all theoretical.

I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall.

Perhaps the more "operatic" video pieces were a reaction to my knit sculpture, which kept me isolated for so long in the studio that the videos were a way for me to be social and flamboyant and to change my mind all the time. Because when I did the knit pieces, once I committed myself to a piece, I was locked into an idea, and the only thing that could really move was my mind. The early video pieces were a way for me to express what was going on in my mind.

I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.

I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.

I love to go into the studio on days when I'm not even doing anything. It's like my senior club. Some people go to senior centers, well I go to my senior center.

After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.

Even in China. Children there, next to the Great Wall, who had never seen Mickey Mouse responded. So the studio did have that skill to communicate with images.

I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.

The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I`d have material in two minutes, because I`d been doing it all my life.

Back 20 years ago, I was recording with Bruce Springsteen, and his producer called me and said I had to be in the studio the next day to finish the sessions, and I couldn't. I had to be in court, in California. All this took like 10 years out of my life.

I love Buster Keaton. I was a big fan of the stunt shows at Universal Studios. I'm a huge Cirque du Soleil nut.

What use is my mind? Granted that it enables me to hail a bus and to pay my fare. But once I am inside my studio, what use is my mind? I have my model, my pencil, my paints. My mind doesn't interest me.

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.

When I'm in the studio, there are no boundaries.

I repeat the wake-up, the workout, the quick shower, the breakfast of three hard-boiled egg whites and a cup of coffee, the hour to make my morning calls and deal with correspondence, the two hours of stretching and working out ideas by myself in the studio ... That's my day, every day. A dancer's life is all about repetition.

If we [black people] do not show up and support the march towards cinematic equality, the march towards being on a level at - we don't even have to be higher than whites, but to be viewed in the same common thread of this is a professional, these are stories that people are interested in, instead of being fed the same old BS dogma that's been fed and the studios have used.

A lot of sources said I was born in 1917. That is incorrect. I was born in 1920. 1917 was the year the studios listed as my birth year to make me appear younger.

I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.

Once I started reinventing for myself what being an artist was - not going into a studio, but making things on my own terms in response to being out in the world - I started to really enjoy it... I realized that everything else for me was hell.

Being an artist is not just about what happens when you are in the studio. The way you live, the people you choose to love and the way you love them, the way you vote, the words that come out of your mouth... will also become the raw material for the art you make.

I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.

I don't require that the main guest [of StarTalk] have any science knowledge or background at all. It's just, I have a conversation with them, it's long and winding, and we find out what parts of what we learn about the person lend themselves to further scientific discussion with an expert who is brought into the studio. So that's how that comes together.

And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.

I thought I was attractive when I shot 'My Big Fat Greek Wedding.' Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them.

When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.

. . I have written a couple of screenplays for studios, and each time has been less gratifying than the last. In my experience, they want no real representations of homosexuality, they want no complexity, they are terrified of ambiguity and unanswered questions - they don't know what they want, except that they want to make lots of money. The only freedom I've ever had as an artist has been in the theatre.

[Baz Luhrmann] is very serious - he wants it done and he wants it done accurately. He was in the studio actually when I recorded "Everybody's Free." I remember meeting him and him being amazed by my voice.

When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.