You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.
Studio people are idiots. Until they see someone else doing it and make a success of it, they don't open their minds. Most of them are idiots.
My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.
You don't see me in the club. And the reason is because I would rather be in the studio mixing these musical potions. Now sometimes they blow up in my face, and there's a lot of smoke. But that's who I am. Music is what I do.
I was the first studio executive to meet with Sean Penn after 'Taps' in 1981. I was anxious to develop things with him when nobody knew who he was.
I would like to see more Bollywood films! The more stylized musicals are a new trend in the U.S. We are beginning to make musicals again after a long break, practically since the days of the studio structure, so perhaps we can learn a few things from Bollywood about this fun style of film-making.
The studio is spending great amounts of money, and they want some insurance they will get money back. They go for the middle of the road, broad in appeal. It's restrictive. It's a constant struggle, but if you give in, you're just making cottage cheese, and that's the end of it.
Each time I've gone to the studio, the songs have got better and I've got more confident.
I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.
When I'm in studio, we cover the news. But no one says the news has to be boring.
I've turned my guest house into this little studio, and we have actors come over and do readings.
I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.
We live in a bubble sometimes, and you can get out of touch with your fans. You go to the studio, you come home. But coming to Comic-Con is a real opportunity to connect with the people that made your show happen and are responsible for its continued success. It's really humbling.
The flow of Guiness into the studio was inspirational as well as nutritive.
In many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio; we build the songs that way.
There wasn't an episode of 'Will & Grace' that didn't begin with my voice saying, 'Will & Grace' is taped before a live studio audience.
If you can play well in the studio, you can play well on stage.
In the studio the director controls the actor's every move, every inflection, every expression.
When you get to know an artist, you find out the things that have peeved them over the years, and it's generally the stuff that has to do with somebody not wanting to do things their way in the studio.
It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.
That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
Many of my friends were there at Motown. The studio was only a few blocks from where my dad's home was, where we lived.
That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.
After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.
The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.
I think that I learned a studio system prefers a sort of professionalism from the director.
When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.
I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.
Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
I've been a solo artist for a year now, and I think I should start thinking about the future now. Every spare time I get, I want to be in the studio and work on music for 2015. It's a lot of work.
What I really enjoy and what I do in the studio is play keyboard.
Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.
When it comes down to it, it's about who you know, and who's a fan. It's about whether you're the right age, whether you're hot or not, whether the studio is into you or not.
