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It's becoming much more common to see yoga studios offer classes aimed exclusively at people of color who are searching for ways to cope with racism and fears around police brutality.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
When I started at Pratt, Spike Lee had his 40 Acres and A Mule studios down the street. You'd see Rosie Perez walking around going to Mike's Coffee Shop. So it was this black bohemian.
I have real TV studios. If I have an idea, I can go shoot it. I can experiment. If I choose to air it or not, it's at my discretion. I don't have to do it to somebody else's time frame.
In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.
I swear, there is Capitol Studios and then there's every other studio on the planet Earth. It is the ultimate, paramount of sound in the United States of America. It is a magical place.
Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.
Some days I'll be like, "You know what? Why don't I go to my daughter's studio and make a song?!" And then I don't! I don't know if I would have all the time it takes to put into a song.
I was recently realizing that I've probably spent 80 percent of my life in studios! It's very difficult to do that and still have a private life; it's very difficult to do anything else.
Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
I used almost every penny I ever made to build recording studios in every city I lived in. I don't have much to show for all the TV money except a lot of musical gear and a lot of songs.
When I started in '54, it was only one track on a quarter-inch machine. We didn't have recording studios much around the country; we went into the radio stations and recorded our records.
Well, I actually first got into music as a small child, and as I became a teen, I sought out making money from music, weather that was singing lounge gigs, backup in studios, or weddings.
When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
I think being a partner with the studios and networks and, more importantly, being a great source for consumers to watch that programming is always going to be a part of our programming mix.
There's no doubt that the patriarchy that we live in also controls the movie industry. The heads of the studios are men, and it's reflected in the scripts they buy and the work that gets made.
I thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
I made this Swedish movie called 'Snabba Cash,' or 'Easy Money,' and it was shown at the Berlin Film Festival. A lot of American studios, agents, and people like that saw it there and liked it.
And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.
I visit studios. Just to get the feel, the smell, and see what other people are doing. Not only listening to the radio, but going to studios, greeting musicians and artists, just getting a vibe.
I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.
I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like 'Porgy and Bess' or 'Showboat.' I'd love to do 'em.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
I'm just randomly wandering around the Walt Disney studios making pew-pew sounds, trying to direct people, and nobody listens to me anymore. I'm turning into a Force ghost. It's a strange feeling.
I still don't understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.
I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.
I think the executives at the studios today realize that it's easier and safer to go the - to some known territory which is a remake of a successful film. It's less chancy than taking a fresh idea.
I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
If a book sells a few hundred thousand copies or a million copies, which is great, it's perfect for PassionFlix because we don't have the same overhead as some of the studios do to make these movies.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.
When I have time off, my friends and I will go to Universal Studios, the movies, out to eat, and shopping. I'm happiest when I'm just hanging out with my friends... it really doesn't matter what we do.
After marketing surveys by Universal Studios indicated that 'Rocket Boys' as a movie title would not attract the female over-age-thirty demographic, the film was retitled and released as 'October Sky.'
I grew up always around music through my father - I would play in music studios with him as I was growing up - and my high school, Fiorello H. LaGuardia High School of Music and Art and Performing Arts.
Well, my closest friends are still the ones that I went to school with, but it's nice to go to work, at the studios, and have people there that you're willing to talk to and have a good conversation with.
Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.
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.
I decided that I was going to stop trying to convince older, more established heads of studios or networks to understand me and get me, and focus more on developing relationships with people who already do.
I wouldn't wish overnight success on anyone. You have no real friends. Everyone works endless hours at different studios, so far apart. Even on your own lot, relationships were formal and often competitive.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
Because I could dance, my folks went through hell so I could be in movies. But I didn't dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.
I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.
I remember wearing overcoats, hiding in the bushes outside of Abbey Road Studios, waiting for the traffic to clear. As it did, we would drop our overcoats and run out on to the cross walk and strike our poses.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
I lived in Boston for four or five years and would commute to New York to play gigs. New York City became so expensive, all the recording studios started shutting down because they couldn't afford rent anymore.
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I bumped into Mike Epps in a barber shop. I was in the Warner Brothers studios trying to find my way for an audition and director Jordan Peele was just standing talking in a corner, so I had to introduce myself.
Mother was so good that I was defeated even before I started to be an actress. I thought I could never make it unless I spent years in the Actors Studios, went on the blacklist and lived in New York, as she did.