I have studios in the different places where I live - in Ibiza, Paris and London - but they're not crazy studios, they're just rooms with good monitors, and all I do is plug my laptop in. It's a different way to make music, but for me, I love it, because it's more connected to the world.
From that time on, I always had the studios on my neck.
Florida has tons of entertainment opportunities because Walt Disney World and Universal Studios are there.
After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
There was a period around Columbine when horror films were being kind of assailed by the government. The studios got very afraid that they were going to be sued, and studios at about that time were all being taken over by corporations.
The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.
I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no one else can make them.
I don't want to only make the movies that studios will greenlight.
When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios.
The studios don't seem to foster good writing. They're not so interested in that, but they're more interested in what worked most recently. They're definitely very serious about making money, and that's not a wrong thing, but you don't have to make money the same way all the time.
Generally, studios are adverse to making films about war in the Middle East. They'd much rather make a film with a superhero or an alien or a robot.
The studios will go wherever they smell money. It's like sharks to the blood.
The studios don't finance anymore, they get outside funds.
I was used to getting changed in pub toilets before going on set. Then suddenly I had studios in L.A. advising me on my hair.
So many people from the West are coming into India, all the studios have come into India, and they're making films here, whether that's Fox, Warner Bros, Disney, everyone. That stands as testament for us, so why are we afraid of sharing our talent with the world? We must.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
I visit studios. Just to get the feel, the smell, and see what other people are doing. Not only listening to the radio, but going to studios, greeting musicians and artists, just getting a vibe.
I guess in Australia every film is sort of an indie film because there are no studios.
I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like 'Porgy and Bess' or 'Showboat.' I'd love to do 'em.
I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.
I don't like to deal with studios.
Yet, that's what studios do. If one thing works, they'll keep doing it till it runs its course and people aren't interested anymore.
I like the fact that major studios have been attempting horror films recently.
And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.
The Hollywood structure was monopolistic, run by four or five big studios.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
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.
Most studios in Memphis had a house set of drums; the drummers just brought their own sticks.
I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it's become very corporate, the independent scene.
The fact that Disney bought Maker Studios doesn't really change anything for me.
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.
Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
I think the business affairs people at the studios get some kind of perverse satisfaction in finding the worst hotels for actors to stay in.
We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.
If you look at American studios, the big productions have nothing to do with reality.
I get the music, I get the beats. And I go to the studios and write the lyrics.