Studios Quotes

I'm really interested in having a studio one day and being a filmmaker.

I would love to have been around in the Keystone Studios days.

It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.

I get the music, I get the beats. And I go to the studios and write the lyrics.

When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.

I can never remember what I do even in the studio.

I'm constantly fighting with my manager to reduce the amount of time I have to spend on promotional activities, so I can get back in the studio and work on new music.

Studios are passe for me. I'd rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.

In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.

I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.

You have to strike the deals, and they have an interest in them. With a revenue share model where you're already splitting with the studios, you have to do something with Fandango and so on.

While I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio.

The Buggles was much more a studio environment idea, which we never actually took on the road.

I always used to develop a cold going into the studio.

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

I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.

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.

Producers and studios know what sells. It's nice to be one of the guys that can help sell a movie by taking his shirt off.

I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.

It's hard for me to worry about the studios losing money. I'm not very sympathetic to their money problems, because they certainly haven't been sympathetic to mine.

Sometimes I hear a drum groove in my head and I rush down to my studio.

I started off as a studio pianist in Hollywood.

I just go in the studio and write on the spot and see what comes out.

There are so many venues in which stars are exposed today, that we just know much more and the studios don't have the control over stars like they used to, in the 30s, 40s, and 50s.

The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.

Some people are denizens of the studio. I'm more of a denizen of the live appearance. I love the live thing.

I always prefer to work in the studio. It isolates people from their environment

Warner Bros., where I spent pretty much most of my professional life, they continue to make a lot of movies but so many of the studios are pulling back.

We allow no geniuses around our Studio.

Just going through a lot in my life, becoming more confident in myself, writing my own music and just really getting in the studio and just doing it.

I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.

There's an anxiety of wanting to please the studios. You want to prove to them that you can do it and sometimes you might jump at a project that you're not totally passionate about.

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 can't get hired in a studio movie. Everything is so uphill.

Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.

The studios are very much business. Maybe it was always that way. It is really commercial now. Judgments are made and directions are given to make the cash register ring.

Sometimes in the studio movies I've been working in, you'll put a joke in a movie because the crowd loves it - not because I love it.

...I loved to dance in studios, but not necessarily on stage. What I loved was to sweat and to feel every single pore open up

Secondarily, I think films that are driven by music also terrify studios.

Yoga has moved from relative anonymity in the West to a well-recognized practice offered in thousands of studios, community centers, hospitals, gyms, and health clubs.

Writing on a contract for a major studio you get the very best.

I like to explore a lot of textural, arrangement aspects in the studio.

The studio that we mix in is still in Chicago.

One of the factors that still keeps me in the studio is that every so often I have to more or less start all over.

Studios never put pressure. They know the kind of films I want to make.

Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.

It's an amazing feeling to go into a studio and really be alone.

In my studio I'm as happy as a cow in her stall. That's the only place where everything is all right.