Quotes About Studio

When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.

The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.

When you're in the studio, you can't be like, 'I want to make music that everybody will like!' You have really understand your fan base, what they like, and that's what you do it for.

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.

If a Hollywood studio needed a fighter to play the hero in an old-time boxing movie, the search could begin and end with John Duddy.

Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.

The fans are very, very loyal. They're always saying, 'When is the next album?' They know when I finish in the studio it's got to be a few years before the next album.

There are those people who try to change what you're doing. We don't like that. When we went into the studio for 'City of Evil,' we had 99 percent of the songs finished and ready to record.

I remember so well my father's complete concentration when he went to the studio. Everything he did, every movement he made, he did with complete concentration. Then, after he had finished work, he would go to the beach or whatever, and then he would enjoy play and forget about his work.

Once I actually get in the studio and I start working, I'm fine, but it's just getting there and these hours of torment with myself and self doubt, thinking 'I'm useless' and 'Who am I, conning myself into thinking I can do it again.'

I'm always working on new songs. With the technology these days, any idiot can record on Pro Tools on your laptop. All you have to do is plug a microphone into the input jack and anybody can have their own recording studio. So I'm always down in my basement, singing along to riffs or whoever I'm collaborating with.

I'll take a shot of vodka if I want it to be raspy... I tell whoever's in the studio to get boiling hot water, like super boiling, that they're afraid to give it to me. I put it exactly on the back of my tongue to shock my body. That cleans it up.

I run the Actor's Studio on the West Coast, and one of the things I say all the time to the people I teach - many of whom are acting teachers - is that an actor needs to make choices that make him present.

I'd always wanted to work in the studio and experiment with sounds. Things that I'm really influenced by and that I love are like The Beatles and Radiohead, and all those records by bands whose music is really involved.

Man, I wanna be there for everybody. I wanna make everybody happy, and I can't... That's why I stay in the studio.

Star voices are not cheap. So if they're not bringing the desired result for the studio, why not pay the VO artists better.

There's a lot going on music-wise in L.A. It's a wicked place to wake up, there's sunshine, you go to the studio, see all these really talented producers.

Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.

Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.

It's so wide; that's what I love most about my career. It's been varied, and the music has been varied, because I find myself getting bored pretty easily. So for me, to work in the studio has been great. I didn't go on the road; I just worked on a different project every day, a different kind of music, and that's the challenge I love.

One of the things that 'Love, Simon' is doing that hasn't been done before is it's a gay teen rom-com with a mainstream wide release and the backing of a studio that previous gay rom-coms have not had. I'm really excited by that.

At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.

Guru and I had a house in Clinton Hill, Brooklyn, for a while and we used to have wild parties there when we weren't in the studio. It was like a fraternity house.