Studio Quotes

I'm not prejudiced about what type of movies I'm in, what form they take or whether they're studio or independent. I just want to make films that are going to be good. The main reason is not to make money, although at some points it's really difficult when you're broke.

When I was 15, 16, I studied with Stella Adler at the Conservatory of Acting, then I stopped again and went to the Actors Studio when I was 18.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

I like the gritty parts of fashion, the design, the studio, the pictures.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

We knew we did not want to record at Impulse Studios again, after the experience of recording in a 'real' studio in London for the Radio One session we did.

When people ask me if I have a hobby, a lot of times my answer is that I like to surf in warm water. I like to ski, if I have the opportunity. But really, I like to go to my studio and write music that I want to write, where there's no pressure to come up with a hit single.

One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.

I'm not one for walking the beaches humming a melody. I love the discipline of sitting in the studio, writing and listening. That is my domain.

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

I have a rough idea when I walk into a studio though.

When it began I wrote this passionate letter to people I knew, studio members, of course, and other people with whom we have worked over the years and I said come and teach our students.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.

What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.

I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.

It's the formulaic studio movies the make money, and when they do, the actors in them are automatically movie stars.

I always think I don't have any songs, I don't have anything I'm working on, and I get in the studio and realize there are 20 things I'm thinking about. It's just kind of second nature.

In L.A., unless you've just won an Oscar or you're Mr. Studio Head, no one talks to you. Even at parties.

I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.

There's a million new people in the studio every day creating new stuff so I really had to be on my toes with this one so I could get it out before somebody else could.

I really feel there's no limitation on what this band can do in the studio or on the stage. That's an empowering feeling - that we can bring a song to life.

As opposed to touring for three years and then going into the studio and writing an album, I think this record is representative of a lot of everyday people.

Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.

I'm not a guy to go in the studio and spend months, let alone years, like some people do. I cannot even be in the studio for a month, it will drive me nuts.

Daffy, of course, wants to go on the journey with him but the studio decides they want Daffy back, so Bugs and a young studio executive heroine have to go out and try to bring him back.

I think that songwriting changed when groups started spending more time in the studio.

Studio people are idiots. Until they see someone else doing it and make a success of it, they don't open their minds. Most of them are idiots.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.