After Nashville sushi and a long debate on Bob Dylan, we went into Woodland Studios at 10 pm that night for a look around, and jammed for 5 hours solid.
The film industry is driven by male narrative. Heads of studios are often men, teeming with male executives everywhere you look, and so the narratives we have the screenwriters usually for male leads. Women tend to be second string: the girlfriend of, the secretary who becomes.
I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.
Studios, because they are investing a great deal of money in movies, they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based, so they pigeonhole people. But I've written everything, from Westerns to sci-fi to dramedy, I've done it all.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
Here's the thing with the business, is that when people like your work, and you make them money, you're set. When the critics like you, and you make the studios money, doors opened.
OSHA had come in and looked at the channel 5 studios and it sort of had something to do with wrestling, but they found that there were some safety concerns that had to be addressed.
I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.
I know my audience, and they're not people that the studios know anything about.
You knew everybody at all the studios and you saw them often.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.
I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.
And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
Studios are passe for me. I'd rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.
I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.
The studios knew how to build a star, and they knew what to do with you. They also taught you everything.
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
Studios will tell you that they can't turn a profit on female-driven entertainment. Which is like the Gap saying no one is buying clothes anymore. No. No one is buying your clothes.
I still don't understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.
I think good-looking people seldom make good television. And American television studios almost concede before they start: 'Well, it won't be good, but at least it'll be good-looking. We'll have nice-looking girls in tight shirts with F.B.I. badges and fit-looking guys with lots of hair gel vaulting over things.'
We were like a stock company at Warners. We didn't know any of the stars from the other studios.
The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.
We were at Pye Studios for half an hour so we set the gear up and we did two tracks. A month later we found out it was selling thirty thousand copies a day.
During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
Well, I actually first got into music as a small child, and as I became a teen, I sought out making money from music, weather that was singing lounge gigs, backup in studios, or weddings.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.
I want to go create my own independent content and entertainment, in new models and in new ways, and essentially show studios and networks that people are good.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
People at agencies and studios, including the parent boards, might look around the table at the decision-making level and feel something is wrong if half their participants are not women. Because our tastes are different, what we value is different. Not better, different.
Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.