'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
But after this last year and dealing with the studio, the rest of us are closer than we've ever been.
As an actor, you've worked very hard, and you've been doing this for 20-some years, and William Morris was never interested - or any studio, either - in your company or as an actor, and then 'God's Not Dead' happens, and now everyone calls you.
I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
I was 27, an unemployed actress living in a really crappy studio apartment. I had just moved to Los Angeles alone, away from my family. I had cervical and uterine cancer and I was told that I would never be able to carry a baby.
You can no longer just have a magazine that shows you this glossy impervious image of women - in the studio, artificial, wearing a push-up bra.
Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.
I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.
I write a lot of music in my time off and I compose most of the songs on guitar. I've actually gone into the studio and recorded a few things, but it's tough trying to sell a song. It's all about finding that hook, that melody.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
Why are we talking about talking? Why negotiating about negotiating? It's very simple. If you want to get to peace, put all your preconditions on the side, sit down opposite a table, not in a studio, by the way.
But when I record my next studio album, of course I'll do the lead vocals.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I was so young, and making movies, going to the studio every morning at dawn was magic.
We still spend more time chasing funds than we do in the studio in creative work.
I don't go in the studio to make music that won't matter. I go in every night to try to make a point and make the best music that I can make.
When I left Van Halen, I went in the studio and made a CD called Marching to Mars with all studio musicians. I did it immediately. With the disappointment riding on my shoulders of the breakup of the band.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.
When I get in the studio the idea is just to work and bang out as many as I can.
Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.
I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.
The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.
My dad heard of a studio on the radio, and it was advertised as a place for kids to meet kids, and it was actually a studio, and that's where I met my manager and agent.
We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.
I was a student of Sanford Meisner for three years at the Neighborhood Playhouse, and I studied with Lee Strasburg for five years and became a member of the Actors Studio. What I studied came right from the horse's mouth. My students have a lot to learn from me, and I am so eager to share it.
When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
If I had a choice about going to a meeting at a studio or changing a nappy, I'd choose the nappy.
I don't think that a company should own a studio and the network, and program for their own network. It hurts the creativity - it is not a level playing field.
On Eye of the Zombie, I had so-called studio musicians.
I really think of the studio as being like craftsmanship time, and then playing is about releasing energy, and the two are really different.
What producers did was mostly recording in the studio, so it never changed our sound just that much.
While I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio.
I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.
