The reality is that there are so few roles out there for women and for women of color, and I'm a character actor, this I know. And I'm getting to see more of the roles that are out there, but there aren't many. And zilch have been studio movies. Zilc...
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.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
I met will.i.am in the studio and played him a couple of songs and he liked them. We're similar but there's nobody in my lane doing what I'm doing.
I'm such a fanatic about exercise that I opened my own gym, 3Sixty Cycling Studio, and I exercise almost every single day.
I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.
I was under contract to Paramount. They wanted to make me into somebody which I was not. So I got so scared and rebelled, so they threw me out of the studio.
Tim Conway was a little different from the rest. He was always in the back of the studio building something with the prop man, rewriting his lines, or plotting our demise.
I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.
The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
I've always said I'm not the kind of designer who likes to lock himself away in a studio and let the rest of the company deal with it. I work very closely with everyone on the team.
The crew members for 'The Price Is Right' at night are the same guys who work 'Y&R' during the day. It's even in the same studio. I've been in the place for 15 years. So all the faces at 'The Price Is Right' are familiar.
Sometimes I get ideas for lyrics in anyplace, but I work a lot in the studio. So I collect little bits of lyrics. I go through the box of lyrics I have and see if something fits.
I work out in a studio. Every day, regardless where I am, at least two hours. I need it. I can't cease it.
The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
The plan was criticized by some retired military officers embedded in TV studios. But with every advance by our coalition forces, the wisdom of that plan becomes more apparent.
This idea comes to you, you can see it, but to accomplish it you need what I call a "setup." For example, you may need a working shop or a working painting studio. You may beed a working music studio. Or a computer room where you can write something....
