I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.
They studio were flabbergasted when they discovered how interested everybody was in 'those old people.' And now many upcoming projects feature older people; it's become a trend.
Big Pop songs are born of inspiration and spontaneity. The question becomes how do you create spontaneity when you're going into the studio five days a week?
When I did 'Stardust,' I was fighting the studio for things I believed were right.
'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.
I guess I'll just slip into the studio after the next time with the Muses, and then just keel over and die.
I ran into Snoop one night. I was in the studio later, and I got this beat and thought he would sound great on it. I called him and he came right through that night.
They're mostly done before we went into the studio, although I do like writing in the studio.
I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.
I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.
I think you get in trouble if you make experimental big studio films.
Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.
I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.
When I was looking for financing while making 'Hellraiser,' I wish there was a studio like Project Greenlight Digital Studios behind me.
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
We were all ruled by the studio system. I signed a contract for seven years.
To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.
My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.
I'm glowing in the dark with my studio tan. I've been in a cave of music for months and months and months.
I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.
When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.
The studio is just a labor. Getting on stage is the reward.
You can always trust that an audience is smarter than a studio thinks it is.
We have the largest digital design studio in the world.
I'm a member of the Studio City Driving Range. They have a nice little par-3 AstroTurf course and driving range. You know, I don't belong to a course because I don't golf that much, so it's not worth it for me to join a club.
I am wary of sequels. I understand them from the studio's point of view, but the audience doesn't want more, they want better, and I thought the second 'Ghostbusters' was not very effective, it did not really work, so there's no reason to believe a third would. I'm more interested in new things.
When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.
The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.
Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
That's what so great about making movies. It's that you get to do stuff you never would be able to do in real life. You get to go to a recording studio, you get to go to Navy ships and fly all over the world for press. And it's just a great job.
I love doing third albums. A group makes its first album, and then the record company rushes them into the studio to make their second album. After that, they go, 'Whoa, wait a second.' They get a little more confident. They step back and say, 'Okay, now we're gonna do it.'
Often, in the movie business, they need somebody who will garner box office because they need to pay for the movie. So the people who are in movies that make a lot of money are the people who most often get cast in studio pictures. In my career, I've never been a box office name.
Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.
A lot of people say don't let bad vibes into the studio, but I love to. If you're having a bad day, write a song that feels like that.
I really don't chase songs. I get in the studio, I know what I gotta do; I'm pretty much programmed to do it.
