I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
Pre-preproduction is the tenuous time before a project is greenlit; before the studio commits to spending real money. This is the most vulnerable period for any film because it's the time when your project is most likely to be put into turnaround. That's film-speak for killed off.
When you see the way some people write women, especially in studio movies, it's like, 'Sorry! Sorry for being alive!' Women are so apologetic.
I think it's the most extraordinary studio around. I would love to do my next project with Pixar.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
There is a whole aspect of freedom to recording at home that you don't get in a studio. The possibilities are infinite, and there is no reason not to explore them.
I find inspiration for my works of art in my studio and in the squared circle from all sorts of places.
We lived in my father's studio, so there were the brushes and the pencils and the paint. So it would - it was very natural for me to want to paint, I think, and it was never a question.
Not only does Hollywood make money - it seems to make better movies during recessions. I'm sure a lot of studio executives wish we could have one every year.
I keep waiting for a paradigm shift to happen that will let network and studio execs see that sci-fi is the same as any other genre in terms of how you approach it - logically, character-based, with challenging ideas and forward thinking - but I worry that it might never happen in my lifetime.
The actor that taught me the most was Bernie Mac. I did my first big budget studio film with he and Angela Bassett, 'Mr. 3000' for Disney. Bernie taught me by example what creates success is humility and hard work.
I always wanted to be an actor, even when I was a little kid. When I used to run away from home, I'd go to movies and sit all night watching Kirk Douglas. When I was 16, I tried getting into the Actors Studio, and they told me to get lost. I said 'I'll come back when I'm a man,' and I came back when I was 30.
I run a design studio in New York. Every seven years, I close it for one year to pursue some little experiments, things that are always difficult to accomplish during the regular working year. In that year, we are not available for any of our clients. We are totally closed. And as you can imagine, it is a lovely and very energetic time.
Studio D has a lot of symbolism for me.
I've been blessed in my career to be able to do studio and independent films.
I love the studio audience. That's where I feel the most at home. You know right away if you're being funny or not.
I was amazed and upset by the looks I got just walking around the studio... It illuminates the ugliness and the beauty that exists within each of us, and that's what this story represents to me.
There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
When I went into the studio I created a sound that I wanted to hear.
What I learned from the Beastie Boys was to be independent. They set up their own world separate from the label. They built their own studio.
I love all kinds of stories and movies, and I did work hard to get through to the creative community and studio executives that I could work in a number of different genres and tones.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.
I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.
I am racing to the studio the moment that God affords me the opportunity to hear again.
The thing about having true fans, it seems, is that they remain loyal to their idea of what the work meant to them. And that might make them more exacting than the toughest studio executive or publishing boss.
What's great about working with EPIX is that we have unparalleled access to the top movie talent and do exclusive 1:1 sit-down interviews with the actors, sometimes before anyone else does. With 'The Hunger Games,' we had our own studio set up and did 1:1s with Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Lenny Kravitz, etc.
Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.
I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.
From 1985 to 1994, I lived in Manhattan in a big old loft right off Times Square. I could walk to work, which was in a couple of Broadway theaters, to Howard Stern's studio, and to 30 Rock for 'Letterman' and 'SNL.' Even in New York, walking to work is homey and folksy, like living in a small town.
I love being in the studio. If I'm at home, I will go to the studio pretty much every day anyway. It's just something that I like to do.
I started a recording studio. I started producing people and doing remixes.
There is a difference between a great producer and somebody who is a big advocate of your music. Just because you're a big advocate for a band doesn't mean you need to be in the studio with them, and at the same time - we don't need to get into this conversation - you can write a hit, but it might not hit.
In the car on my way to the studio, I was listening to 'Where Are U Now' with Justin Bieber and Jack U, so I was like, 'Wow, this is such a banger.' I loved the thought of having a ballad at the beginning and then just a massive drop.
If I could, I would not do anything else. I'd just be in the studio for my whole life. I would never go to parties, events, and red carpets. I would rather just be in the studio for the whole time. I don't even care. Nobody has to know what I look like. I just want to make music.
My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.
