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Well, my closest friends are still the ones that I went to school with, but it's nice to go to work, at the studios, and have people there that you're willing to talk to and have a good conversation with.
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.
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 daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing - rare but profound - remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.
I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.
I like working. I wish I could say I made a deliberate choice to comedy, but it's just what came my way. It's what the studios wanted to make. Some of my friends were doing it, like Will Ferrell and Adam McKay, and they offered me 'Talladega Nights.' It's just nice work if you can get it. It's a joyful day at work, making your friends laugh.
John C. Reilly
I was living in a terrible time when people were being accused of being communists, and they attacked the movie industry, especially the writers. People couldn't work if they were on the blacklist. The studios banned them. It was the most onerous period in movie history. I don't think we have ever had a period so dark as that.
A lot of people think that I grew up in recording studios and knew the whole process, but that was never the case.
The old studios that mass-produced dreams are gone with the wind, just like the old downtown theaters that were the temples of the dreams.
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.
I still don't understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.
I have real TV studios. If I have an idea, I can go shoot it. I can experiment. If I choose to air it or not, it's at my discretion. I don't have to do it to somebody else's time frame.
The woeful tales of 'Super Mario Bros.' and 'Street Fighter' have taught studios that merely slapping a name to a movie is not enough to bring in the fans of the franchise. Also, the way games now unfold their stories more parallels that of a movie, with characters and plot points actually meaning as much as a high score.
I would love to have been around in the Keystone Studios days.
If the studios paid the artists, how would they ever be able to afford the executives?
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
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 don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
Most architects work in studios largely divorced from academia, as if ideas, criticism and historical research were irrelevant.
Florida has tons of entertainment opportunities because Walt Disney World and Universal Studios are there.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
Martin Luther King, Jr.
John F. Kennedy
C. S. Lewis
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