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When I first moved to Los Angeles, I had a really bad run. I would sleep in my car during the day outside the Disney building in Burbank, and that's where I got my first job, which is really weird. I liked to stay around the studios and kind of get the good vibes going.
I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
If you look at American studios, the big productions have nothing to do with reality.
As a teenager I had friends who had little music studios in their bedrooms and garages. I'd go and play around; very soon, my hobby became a passion.
Studios will tell you that they can't turn a profit on female-driven entertainment. Which is like the Gap saying no one is buying clothes anymore. No. No one is buying your clothes.
The key thing for me is to secure medium-term funding for the Roundhouse studios. It costs around £2m a year to run, but we want to grow it, and of course that will cost more.
One week I was in school and the next I'm at Leavesden Studios in Dumbledore's office reading scenes with Daniel Radcliffe. Weird. And terrifying for such a huge 'Harry Potter' fan.
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.
Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.
Michael De Luca
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 superhero genre speaks to a vast swath of humanity these days, and studios are in the business of constantly renewing their money-printing licenses. I sense we're nearing a saturation point with some of these icons, where it becomes more about the action figures and Happy Meals than it does the mythological heartbeat of the core ideas.
Relatives cannot help you in the studios. You stand or fall by your own efforts.
There are two 'Snow White' movies coming out for the same reason that you remember back in the day there was 'Armageddon' and then 'Deep Impact.' You know, 'Andromeda Strain' and then 'Outbreak.' Like, all of those things. It's common because basically studios have no imagination in making the decisions.
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.
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.
Studios are passe for me. I'd rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.
When I have time off, my friends and I will go to Universal Studios, the movies, out to eat, and shopping. I'm happiest when I'm just hanging out with my friends... it really doesn't matter what we do.
I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.
I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'
Secondarily, I think films that are driven by music also terrify studios.
I have a real interest in pushing some of the limits of things that studios don't want to make.
'Bolt' was made by Walt Disney Animation Studios, not by Pixar.
I know my audience, and they're not people that the studios know anything about.
I don't like to deal with studios.
It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.
C. S. Lewis
Martin Luther King, Jr.
Leonardo da Vinci
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