I do this weird thing in studios where I climb stuff when I get nervous.
Rappers aren’t the really rich ones. We all have nice houses with studios and cars, but you need a piece of someone’s business to be super wealthy.
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.
There was a technique to making a musical. It took a long time for the studios to learn it, and it was very complicated.
I’ve never had an issue with studios. I believe in them as true creative partners in the process.
My husband calls it winging it – the way I just took what the studios gave me, didn’t do my homework and avoided roles that would risk my image.
When I was working actively, I used to be in the studios for 12 hours. I didn’t have any time for my family.
Activision is structured with independent studios and they give their independent studios quite a bit of autonomy.
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.
Florida has tons of entertainment opportunities because Walt Disney World and Universal Studios are there.
My holidays in Hyderabad would be spent on films sets visiting my father and uncle, or in the studios; I was gradually drawn to films.
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.
The studios are nervous on every movie. It never ends, because Marty’s movies are so unusual. He doesn’t repeat himself, so they don’t know what to expect. We have to fight hard to keep them from being ruined. Film students can’t believe that when I tell them, because they think, ‘Well, it’s Martin Scorsese.’
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.
In 1916, Universal Studios released the first filmed adaptation of Jules Verne’s novel ‘20,000 Leagues Under the Sea.’ Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies’ version bears no resemblance to the book.
I’d wake up at 4 A.M. every day, and reach the studios on the dot at 9.
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.
Nowadays the big Hollywood studios only make about three movies a year, and they cost about $200 million each. There’s no room for error in that, and not a lot of room, I would think, for free expression.
It’s expensive to get studio space and dancers. My whole first three years, I was sneaking around in the studios and getting kicked out of them. It was kind of depressing.
Basically, the big studios and companies distributing your movie just take a big cut of profit for making posters.
Abbey Road was actually one of the first studios I ever got the chance to go to. A friend of mine won a competition and got the chance to spend a day recording there – that’s when I was around 15 – and I was the only one who could engineer out of all of us.
In the old days the studios guided your career. Now it’s all up to you.
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.
Without Jupiter cleaning out the early solar system, the Earth would be pock-marked with meteor collisions. We would suffer from asteroid impacts every day. CNN studios would probably be a gigantic crater it if wasn’t for Jupiter.
Audiences have grown to equate being startled with being scared, and will complain that a movie ‘isn’t scary enough’ if it doesn’t have enough jump scares… so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it ‘makes it scarier.’
I played drums since I was 6 years old. And then I got into producing music when I was about 16 or 17. Somebody showed me FL Studios, the program. My beats were bad at first, but then eventually they started to get good.
Sun Studios was where so much of American music exploded from.
Sometimes you can do a TV show on a subject you just can’t do in film. Either it’s too long or studios will perceive it as not being commercial.
I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I’d got the part! It just shows dreams do come true.
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.
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.
Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.
I think that being able to do a WWE studios film gives you confidence to say that I was able to go out there and accomplish something.
