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'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
I'm a big micro manager; I'm a stickler about organisation; everything needs a place, a purpose, and micro managing myself even when I'm in the studio.
Social media is a double-edged sword. I've gotten in trouble for announcing, too soon, something that the network or the studio wanted to do, and it steals some of the thunder, so to speak.
If you start out trying to achieve a specific thing - like doing stadium shows or going into the studio and doing an album - the end result is what counts.
In a way, I was spoon-fed, if you will, a career. It was fully manufactured by a studio that believed that they could put me on their posters and turn me into their bottle of Coca-Cola, their product.
I probably am more shy than people realize. But I'm shy when I leave a studio and I am just myself.
I had three influential teachers. The first was Uta Hagen. The second two, Bobby Lewis and my late husband, Charles Kakatsakis, were both from the Actors Studio.
To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
I do real paintings, you know. I'm a little messy in the studio, so I'm a bit of a danger. But I just adore it.
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.
That's usually what happens with AC/DC: you make an album, and then you're on the road flat out. And the only time you ever get near a studio is generally after you've done a year of touring.
So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.
I was very empty after my father passed away. It was an emotional time, as it would be for anyone, but to be in the studio every day was kind of cathartic and healing and it just seemed very natural to continue.
I feel like I'm stepping into a place of spiritual contemplation every time I enter a studio; it's always had a certain magic to me that has never worn off with familiarity.
I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
