You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
In my early teens, I knew I wanted to do television production. I loved cameras, editing and producing, anything that had to do with television production. My friend had a production studio across town, and we'd go over there at night and shoot and edit. I produced my father's televised service for 17 years.
Madonna is her own Hollywood studio - a popelike mogul and divine superstar in one. She has a laserlike instinct for publicity, aided by her visual genius for still photography (which none of her legion of imitators has). Unfortunately, her public life has dissolved into a series of staged photo ops.
Obviously I don't have a stylist for everyday stuff, but for a premiere or something usually the studio will hire someone.
Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.
I probably am more shy than people realize. But I'm shy when I leave a studio and I am just myself.
A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.
The major studios are by and large banks, and they give you what is by and large a loan to make a movie. Like banks, they want their money back plus.
The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.
I know my audience, and they're not people that the studios know anything about.
It takes a week to do a sitcom in Hollywood. I do a show a day in my studio, three or four shows a week.
It's an amazing feeling to go into a studio and really be alone.
I like working. I wish I could say I made a deliberate choice to comedy, but it's just what came my way. It's what the studios wanted to make. Some of my friends were doing it, like Will Ferrell and Adam McKay, and they offered me 'Talladega Nights.' It's just nice work if you can get it. It's a joyful day at work, making your friends laugh.
It's easy to get caught up in a moment and think, 'Oh, I've been offered some giant studio film or a superhero franchise or some actor wants to meet with me about a project they want to do.' And it's easy to get caught up in a moment because it's flattering. But you can't do a movie because it's flattering.
I have just returned from the dubbing studio where I spoke into a microphone as Severus Snape for absolutely the last time.
I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.
The studios don't finance anymore, they get outside funds.
During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.
It's the formulaic studio movies the make money, and when they do, the actors in them are automatically movie stars.
Living and working for four decades in a Bologna apartment and studio he shared with his unwed sisters, Morandi painted little but bottles, boxes, jars, and vases. Yet like that of Chardin and the underappreciated William Nicholson, Morandi's work seems to slow down time and show you things you've never seen before.
I'm no diva but I can be annoying in a recording studio. Of course I try to be a diva in terms of confidence of performance and owning a song but I've never behaved like one in terms of the negative connotations of the word.
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