Quotes About Studio

There has been a stigma around letting movies be seen on home screens on the same day as theatrical screens. Universal said they were going to do it with 'Tower Heist,' but they backed off when challenged by the theater owners. I understand where the theater owners are coming from on big studio movies.

My studio was on 9th Street between University and Broadway.

I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very beginning.

I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.

When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.

When I did 'Stardust,' I was fighting the studio for things I believed were right.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

Youre right, I do write a lot. In some ways, staying home and not being able to tour was kind of normal for me. Because when Im home, Im very active with writing and I have a studio here.

'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.

Timbaland was crazy to work with. When he stepped in the studio, it was like working with Morpheus from 'The Matrix' - he stepped in with three beats and said, 'Pick one.' They all sounded crazy, but I could only pick one. I picked one and he hooked me up.

I'm trying to get every experience possible in a studio environment, because I want to be comfortable there. There are people that I dream of working with, and I don't want to walk into that situation feeling like I'm not good enough.

When we're in the studio, and we sing that first note on that record, you're committing to being a Backstreet Boy!

We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.

When we launched The Deck, I hoped other networks would take inspiration from it and figure out how to increase engagement while minimizing clutter. I even tried to sell my studio's media clients on the notion of fewer, better-priced, better-targeted ads.

When I was younger, I'd be in the studio three days straight to get something right, and my manager would be like, 'Go home!' Even now, I still sleep in the studio sometimes, but I can't do it quite as often. I've got gigs; I can't have my hobo beard! But if you love what you're doing, you can't stop. It's obsessive.

They had met at the table d'hôte of an Eighth Street Delmonico's, and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

I flew back to England with Julian, who was happy and full of stories about John—he'd recorded Julian playing drums in the studio, then used the result on one of the tracks for his new album, Walls and Bridges. When it came out a few months later, Julian was credited, which thrilled him.

When Walt became all wrapped up in the theme parks and live-action films, we tried to get him interested in animation again," recalls Frank Thomas, one of the Studio's "Nine Old Men." "Walt said, 'If I ever do go back, there are only two subjects I would want to do. One of them is Beauty and the Beast .' For the life of me, I can't remember what the other one was.

My manager came up with the idea of our own independent label. We had a recording studio that I had seriously upgraded and was capable of handling any kind of project we wanted to attempt. We had a distribution network. We could hire independent promotion people if we felt the need. Most importantly, we could record anything we danged well pleased, with no interference from outside interests. So, why not? Enter Blue Hat Records.

One morning on the way to the studio, I stopped at a drugstore for something. There was this dingy little guy with tangled rat's-nest hair trying to buy a bottle of cheap wine but he was short a dime. Somebody in line behind him paid the ten cents for him, and he bellowed, "Thank you, brother, the revolution will be won on ripple.

In a lot of movies, especially big studio ones, they're not constructed in any other way than to get people to like them and then tell their friends. It's a product.

What's the rent on a studio here?" Duncan asked. "Seventeen hundred a month." Duncan whistled. "That's about as much as my mortgage." "This building is reserved for low-income individuals earning seventy grand a year or less." Eve was stunned. "That's poverty wage in Santa Monica?" "And all of Los Angeles County," Gus said.

think two cops sucking hard at Hollywood's tit are in no position to be giving me any shit for offering a courtesy to a studio exec.