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Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.
Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.
I'm working on a snow scene right now, and it's summer. It's hot, and I will get chilly. I'll have to turn on the heat. My wife walks in, and it's 95 degrees in the studio. I know it's nutty, but it's a projection you have where you step into the painting.
I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, literally.
Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny's house, so we could rehearse every day.
Timbaland was crazy to work with. When he stepped in the studio, it was like working with Morpheus from 'The Matrix' - he stepped in with three beats and said, 'Pick one.' They all sounded crazy, but I could only pick one. I picked one and he hooked me up.
You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'
I've been in the studio experimenting on making a CD of my own. I'm trying out different producers, styles, sounds. With music, as opposed to acting, you are not playing a character. You are showing people who you are. I really want to have my spirit in it.
It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.
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.
Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace.
I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
I'm involved with Kid One Transport and Studio by the Tracks in Alabama. Kid One literally transports kids to better health by giving them transportation they may need to get medical care. Studio by the Tracks is an art outlet for mentally challenged children.
I like doing everything. That's why I came to Pixar, as opposed to Disney or any other studio - it's small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That's the way I like it, keeping it fresh.
I work in a studio with lots of young people, most of whom are my former students. We delight in trading YouTube videos! We all stop working to watch them. I'm totally addicted to anything with kittens and puppies, but 'Very Scared Kid' is one of my favorites.
I was practically born and raised at 20th Century Fox studio, started to work there selling papers when I was around seven years old, and every summer vacation from school I would work in a various department at the studio. So I was an old-timer when I was 15.
In the marathon obstacle course of a career, it's just good to have all the stats on paper for why you're not only a team player but also why it makes sense to support you in the projects you want to do - because you've made so much damned money for the studio.
I knew from the first episode that 'Longmire' was something special - I met the writers/exec producers, read the script, and knew it was special, so to have the network and the studio and the fans get behind it in the way that they have has been really amazing.
When I was younger I was influenced by Kanye, his story of coming up and how he kept producing and producing and saying, 'I'm more than just a producer. I'm more than just a writer. I'm more than just a guy in the studio here to give you ideas. I have a story.'
New York had a big influence on me growing up, and I was really part of the club scene - the Mudd Club and Studio 54. When you're living in New York, you are just bombarded with style, trying to figure out how to be cool and how to feel relaxed at the same time.
I find I'm not one of these composers that are, you know, walking along a beach or walking on the mountainside in County Donegal that's, you know, 'Oh, a melody.' It's more a matter of eventually taking that moment with me to the studio, and it begins to evolve.
So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
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. In other words, they labeled me with words like overweight, unattractive, unappealing.
More than any other president, save perhaps John F Kennedy, whose father ran a film studio, and Ronald Reagan, a leading man and governor of California, Trump is on a buddy basis with media moguls, a speed dialer with the heads of studios and media conglomerates.
It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.
When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.
That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.
I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.
It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time. But in the end you have a great sense of personal dissatisfaction.
If Miles Davis hadn't died it would have been interesting to do an album with him, but there wasn't much else that would have got me into the studio... although Herbie Hancock has just been in touch about doing something and that would be an interesting combination.
It's really weird being placed into something like that because it was never an intention to make bedroom pop. I was just making music. All the people that have that genre placed on them are not the first people to have a home studio and and post it on the Internet.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it's superstitious, but I believe if I had done things differently - if I had walked around the studio or gone out - it wouldn't have turned out that way.
When you play to an audience, you come away energized. It's the promo that really breaks an artist. Some lad sitting on a box trying to create a drum sound in a dry little studio. Everyone goes, 'Great - okay, now on with my day.' You go back to the bus, and you weep.
Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.
After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down.
I'm an artist, and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does, you know, the press, and figuring out shows and whatnot. When it comes to my artistic freedom, he doesn't, like, step on my toes or anything.
It was always difficult for me to listen to my singing voice for the first 20 years or so. I mean, I really enjoyed singing, and I enjoyed doing live shows, but being in a recording studio and having to hear my voice played back to me would really drive me up the wall.
You go to a studio with a guitar, people are like, 'Oh this girl's going to write this song on a guitar.' Or wants to, or whatever. You go with a ukulele, people are just like 'Eh, well, whatever.' They don't really care. It's a very non-threatening kind of instrument.
Nick Cardy's work helped define some of the things we see in comics today and take for granted. He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio.
I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing 'Don't Smile at Me,' but it was really hard there, and we ended up just doing it at home anyway.