Studios Quotes
I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.
If Shakespeare were alive today and writing comedy for the movies, he would be the head-liner for the Mack Sennett studios.
I'm not used to studios being ecstatic about we did and saying, "Please go do that again."
I met Jason Donovan at RAK studios. He had jodphurs on and small riding boots as he jumped out of the cab. He looked just like me!
The normal Hollywood approach is to have a super-charged production company and then go to the studios for distribution and marketing.
Beyonce gave us direction, and she had like four or five studios going at one time, but then she only sings what she likes. "Back Up" was one of those records.
I made a few movies in Holland for a lot of TV series. I came to Los Angeles and for the last 10 years, I made a lot of feature films - all kinds of low budget action movies for the studios.
I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
I don't mind being in studios, and I don't mind being out in nature. They're two different ways of making movies.
Comedy works in fashion cycles, in a way. And sometimes, studios will imitate those cycles a little too much.
The major studios are by and large banks, and they give you what is by and large a loan to make a movie. Like banks, they want their money back plus.
The studios have their list of five actresses and whether they're right or wrong for a role doesn't matter. It's how much money their last movie made.
I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.
But I don't like working on lyrics publicly in the studio - I prefer to take them away and work on them in my bedroom.
That's why you go to a nice studio. You can get a magic take. You don't really have to do anything to it.
Musicals are so expensive to put on the stage that you have to have the backing of a corporate, you have to have Universal Studios or Disney or somebody to put in the money.
I've been involved in burlesque for a really long time and I've always been really interested in burlesque, and I was writing musicals for different studios.
I don't think an NC-17 rating is the kiss of death. Nor do I think that, in the hands of the right filmmakers, studios have a preconceived notion to pass on NC-17 material.
Between the marriages, I shagged my way round television studios like a mechanical digger.
When I'm in the studio, I don't finish the song and say, 'That's going to be a big ringtone.'
Being a working person who works for the studios. It's a minefield and there's tons of stuff you need to know. And people mess it up all the time.
That for me is more important than anything when you're in the studio - to have somebody you can trust and who knows you, knows who you are and doesn't let you get away with anything.
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.
If you're a movie star, the studios don't want you to act. They just want you to show up and look good and chase girls and have a lot of laughs.
The studios mostly threw away the negatives of the classic films. They had no interest in their legacy.
I want to go create my own independent content and entertainment, in new models and in new ways, and essentially show studios and networks that people are good.
Trust me: Studios, investors, filmmakers, they will shift because they just follow the money trail.
The least important person in a business is the most important person in a business.