Quotes on Studios

If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.

What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.

You're fighting a losing battle if you expect the people who own the studios to make moral choices.

I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.

I had a hard time treating my field as if it's horse racing, putting actors in competition against each other. I see how the industry and the studios feel it's important, but I don't really have a feeling for being in competition. I want to feel sympathetic and close to others, not opposed to them.

Studios are passe for me. I'd rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.

The daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing - rare but profound - remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.

I go to the studio everyday because one day I may go and the Angel will be there. What if I don't go and the Angel comes?

It's not about what it looks like in the studio or on the runway. It's what it looks like on a real person that matters.

I walk by studio heads and they actually look and put their hand out now, like maybe I should be on their radar.

I don't go into the studio with the idea of 'saying' something. What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.

I always like the studio best, once I got the hang of it and the control. I like it because it's complete control

I've tried a few times to depart from what I know I can do, and I've failed. I've tried to work outside the studio, but it introduces too many variables that I can't control. I'm really quite narrow, you know.

I have gone through a long apprenticeship. I have gone through enough of being a nobody. I have decided that when I am a star, I will be every inch and every moment the star! Everybody from the studio gateman to the highest executive will know it.

If a star or studio chief or any other great movie personages find themselves sitting among a lot of nobodies, they get frightened - as if somebody was trying to demote them.

I want to say to the people, if I am a star, the people made me a star. No studio, no person, but the people did.

I have a real interest in pushing some of the limits of things that studios don't want to make.

I learned to cross the threshold of my studio with reverence, as though I were entering a shrine set apart for me to become co-creator with the Universal Thinker of all things.

The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.

We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.