Quotes About Studio

At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.

I hate studios; I'll be honest with you. People get weird in the studio. I've had some great and terrible times with people. People's personalities come out in the worst way.

Being on a K-pop label and agency, everything's taken care of for you. The music is set up for you. Your food, manager, practice room, recording studios - all these things are in the palm of your hand. However, you know the compromise of what you can actually do or say.

We were shooting for 'Aiyyaa' in Yash Raj studios, and I got an offer for 'Aurangzeb.' That's the only time I went for an audition.

A lot of rappers think they better than me because they saw me broke, going in and out of studios, and couldn't pay for studio time.

There was a time when I used to enter the film studios in the morning and come out only at night.

'Milk' had to be a financial success, following the success of 'Brokeback Mountain.' It had to make money so studios would develop other LGBT projects.

Abbey Road was actually one of the first studios I ever got the chance to go to. A friend of mine won a competition and got the chance to spend a day recording there - that's when I was around 15 - and I was the only one who could engineer out of all of us.

I'd wake up at 4 A.M. every day, and reach the studios on the dot at 9.

I've been hanging around movie sets and recording studios since I can remember.

When I was working actively, I used to be in the studios for 12 hours. I didn't have any time for my family.

There's a lack of tremendous pressure in the Disney studios. It's a pleasant place to be.

You know, Im directing a documentary about the history of Abbey Road Studios at the moment, so Ive been taken back to those times. There is a photograph of me aged three months on one of the sofas in the studio, so I was there before I can remember being there.

I definitely want to study film. I'd like to have my own studio one day and just make a lot of movies.

What I've learned in my life, it's a very interesting social study for me, to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character, and when I'm home, my character really changes quite a bit.

It's rare when you stumble upon this amazing melody. We'd love to make a 'Let Me Love You' every time we go into the studio, but it's definitely a special one.

I was blown away by the amazing atmosphere at Moshions's studio. The amount of work, love and dedication that went into the bespoke clothes felt so personal. It was stunning.

I've been in the studio experimenting on making a CD of my own. I'm trying out different producers, styles, sounds. With music, as opposed to acting, you are not playing a character. You are showing people who you are. I really want to have my spirit in it.

Any woman can make herself beautiful. I see 'em do it every day in the studio... with make-up and hair styles and curves added, that is. Science can do anything.

Obviously I don't have a stylist for everyday stuff, but for a premiere or something usually the studio will hire someone.

I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.

Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'

There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.

Gerald's Game,' we could not have made it at a studio without substantive changes to the story.