The average movie-goer in this country sees six films in a year. That's one every two months. What the studios are trying to do is make sure it's their movie.
I used to empty the studio out and throw stuff away. I now don't. There will be a whole series of dead ends that a year or two down the line I'll come back to.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
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.
Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.
I don't really have studios. I wander around around people's attics, out in fields, in cellars, anyplace I find that invites me.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
I thought I was attractive when I shot 'My Big Fat Greek Wedding.' Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them.
For me it was perfect, because it wasn't a very competitive environment, and it was a studio program. They basically send you off, and say, bring us some work, and we'll help you improve it. It really rewarded self-discipline.
I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'
I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.
Record making is an extraordinary experience.
I'm not gone remix a record I don't got no love for.
I would love to do a record with Usher.
A record is a message, timeless.
This is what you do when you journal. You are recording God’s grand, epoch-spanning redemptive story as it unfolds in your limited, temporal sphere of existence here on earth. Your journal has the potential to record the continuation of the Holy Sp...
Natural selection is a blind and undirected consequence of the interaction between variation and the environment. Natural selection exists only in the continuous present of the natural world: it has no memory of its previous actions, no plans for the...
