Studio Quotations | Page 7

I don't think Murdoch would be doing this if he wasn't talking to the other studio owners, and they all need to find a way of keeping the German market going. It's just too big a market.

I didn't know who Walt was at the time, but it didn't take me long to find out. He had written hits for about everybody. This was my first time in a studio and I wasn't ready for it. I wasn't mature enough. There's a big difference in studio singing and singing live.

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Hollywood wouldn't suit me. In L.A. it's all about work - studio people have their five minutes with you and they go, 'Oh mah Gahd, I love your movie.' You just feel very self-conscious there.

Games allow writers to express creativity in a process that won't get as bogged down as the Hollywood studio system. Writers are artists, and they like to see their work out there.

If I had spent seven or eight months of last year in a studio working stupid studio hours, I wouldn't have seen my family for that whole period.

If I'm painting, I paint every day. I'll be up in the studio from 8:00 in the morning to 8:00 at night.

If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.

I built a studio in L.A. for me and my brother to just write every single day. And it's been great, man.

I can't think of many managers who like studio stocks. It's a business with pretty uncertain returns. You can lose your shirt making a handful of movies.

I don't think, by the way, that any network would have given us their show to release all 13 episodes once ahead of them, and the same way, I don't think any studio will give us their movies to release the same day they are in the theaters - not yet, not yet.

However, since the anthrax scare, the studio has prohibited all fan mail and I no longer receive it for the time being.

I could not see myself going back into the studio without Tommy Dowd, our beloved producer who passed away in 2002. Then in 2009, Michael Lehman, my manager, really pushed me to meet with T Bone Burnett. I ended up meeting with T Bone in Memphis, and we hit it off right away; I knew he was a guy I could work with.

I could go out to the studio he had in L.A. and hang around with him. We'd play chess. I later learned that was a real privilege.

I could never find out anything about Liszt's teaching methods from Rosenthal, except that it was difficult to persuade Liszt to leave the cafe and go back to the studio for a lesson.

I'd never want a studio guy. I wouldn't mind working with another keyboard player, but not a studio guy. It sounds very odd, but we're really snobbish about doing everything ourselves whenever possible, so I'd rather just play the piano lines myself.

I do mostly Southern landscapes. I do beautiful old barns that are falling down, and beautiful trees reflecting in the water. My lovely wife Dorothy and I travel quite a bit, so I take pictures of different things that inspire me to come home, when I come home here in North Carolina, into my art studio and paint these things.

Cartoonists tend to be quite lonely, solitary animals and the whole point of the studio when it was founded was offering a team that could do larger pieces of work and larger commissions than a single cartoonist could ever hope to do.

For someone making a pilot, assuming the talent is there and you can maneuver the system properly, it's just a matter of standing your ground and trying to make something great until you are making enough money for the studio that they let you keep making it.

The U.K. needs more first class studio space to encourage the growth of the film and TV sector.

The truth is, the difference between a studio photographer and a photojournalist is the same as the difference between a political cartoonist and an abstract painter; the only thing the two have in common is the blank page. The jobs entail different talents and different desires.

These aren't the films that the studio are looking at.

The idea is to create interaction and team synergy. We want our customers to work with us in a studio atmosphere to stimulate creative thinking. We'll do a design on the spot, create models and prototypes while the customer is here with us - in effect, we want to do it 'live' and get immediate feedback. It will shorten the design process and get the customer to market faster.

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The home studio has taken a bite. People are choosing cheapness over quality. They just don't want to spend the money.

The idea behind the recording studio is to create an alternative for artists who normally record in New York or Los Angeles, ... Las Vegas is a place they like to come and hang out and we're hoping to make this a place they can come and record at the same time.

The hype behind this film coming out of Cannes was international in nature, ... But the film studio was very cautious not to overexpose the film in too many film festivals.

The highest admiration I have for my colleagues is not for someone in a studio in New York but for somebody on the ground in places that they've gone to fight to tell the story.

The industry has to consider whether or not American audiences are sending a message about the quality of the movies they are getting - or just the way and the place in which they get them. You can bet that producers, writers, directors, and studio heads are all huddling intensely to consider what this means and change their behavior to keep it from continuing.

The difficulty of getting a movie made through a major studio is so extreme that when a movie comes out, everyone should give it four stars because it was accomplished.

A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.

All the sparkly shirts and the stage trappings - that's just the performer, the public me, ... Songwriting is the hardest and most personal thing I do. When I'm writing, I'll go into the studio at six in the morning and stay until after dark, including weekends.

The driving factor for me is having DC as one company together ourselves. Our ability to work more collaboratively with the whole studio is certainly a benefit.

The first record was really just us making music and laughing a lot and having a good time in a studio in Iowa. There were no real expectations. Now that we know we have an audience, it's way more crazy.

The challenges I face in the studio pale in comparison to when I'm out in nature.

The challenge pushed me as a leader to strive and come out of my comfort zone. We got to meet so many amazing people who work for MTV and actually getting to be in the TRL studio was an incredible experience that I definitely did not take for granted.

The first person that I ever heard sing a song I wrote was Jason Derulo. I was in the studio when he was doing it, and I mean, I've heard that guy's voice my whole life. When he was singing words I wrote, I started kind of choking up, but I tried to be all manly and puff my chest up and be all, 'Yeah, it's not a big deal.'

The Complete Clef/Verve Count Basie Fifties Studio Recordings,

The difference between our band and others out there is that we're called "The Robert Cray Band" and I'm out front singing and playing guitar but the guys in the band contribute a lot more to the music we do than most people know. They play on all of the studio recordings and we write together.

All the responsibility was on me, because I went into the studio without my label saying, 'Work with this person' or 'Sing about this.'

A valet, of stealthy step, thence conducted me, in silence, through many dark and intricate passages in my progress to the studio of his master.

It's not in the studio ... That's all I can say. It's Ray Romano and Alicia Keys. It's something we thought would be fun to do.

I don't know if high society is different in other cities, but in Hollywood important people can't stand to be invited someplace that isn't full of other important people. They don't mind a few unfamous people being present because they make good listeners. But 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.