Studios Quotes

I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

I don't like recording studios - except my own, which is just a little room above the garage.

For someone in my position, there's opportunities to be anything you want to be, even if you shouldn't be eligible, and I think that's left a bad taste in a lots of financers' and studios' mouths. Just cause someone's popular at one thing, letting them do the other isn't always the right thing.

Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

I love playing live, I don't like studios all that much. I need the reaction of the audience.

My movies are not messed with by the studios.

I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.

The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.

When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios.

From that time on, I always had the studios on my neck.

I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no one else can make them.

I have studios in the different places where I live - in Ibiza, Paris and London - but they're not crazy studios, they're just rooms with good monitors, and all I do is plug my laptop in. It's a different way to make music, but for me, I love it, because it's more connected to the world.

I've got the best of all worlds. It's every actor's dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

When we do a movie with the studios, they wouldn't be asking us to do it, I don't think, if it was a movie they wanted to get into themselves. What you see is what you get with us, so they let us do what we want to do.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

The major studios don't differ very much from one another as they all operate under essentially the same principles and pressure.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.