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Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.
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'll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don't understand it. I don't understand the whole testing-numbers thing. It is not how I want to make movies. So if that's how they do it, then I don't think I want to do it.
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.
I think the big studios shaped and formed the artists that they put under contract.
The studios have been taken over by marketing people and accountants.
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.
Yet, that's what studios do. If one thing works, they'll keep doing it till it runs its course and people aren't interested anymore.
The studios don't finance anymore, they get outside funds.
Maybe studios don't want to see women acting in a way that isn't womanly. Maybe people don't.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I've not really spent much time in proper studios. The room itself where you're recording, and how you live while you're there is what appeals to me.
Studios never put pressure. They know the kind of films I want to make.
I've never had an issue with studios. I believe in them as true creative partners in the process.
M. Night Shyamalan
The studios will go wherever they smell money. It's like sharks to the blood.
I don't like recording studios - except my own, which is just a little room above the garage.
I am currently talking to one of the studios about making American Star as a TV series.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
In L.A., I live right across from Universal Studios.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
I never was one to go into an office and write. For one thing, I had a job. I was cleaning the ashtrays and setting up the studios at Columbia for a couple of years and working every other week down in the Gulf of Mexico flying helicopters. I didn't really get to just write songs for about five years.
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.
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 thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
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.
Leonardo da Vinci
John F. Kennedy
A. P. J. Abdul Kalam
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