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Studios Quotes

“You're always moving and thinking about a whole bunch of things. But those traits work well for me in studios and in meetings about creative ideas. If you listen to the songs I write, they are the most ADHD songs ever. They have five hooks in one and it all happens in three minutes. I figured out a way of working with it.”

“I used to sit in the studio with a copy of the (Saturday Evening) Post laid across my knees ... And then I'd conjure up a picture of myself as a famous illustrator and gloat over it, putting myself in various happy situations, surrounded by admiring females, deferred to by office flunkies at the magazines, wined and dined by the editor.”

“As a kid, I just was a contract player at MGM Studios. They put me into goodness knows how many different roles.Some of them were wonderful and some of them were very just distasteful and awful because I was playing out of my age range and I was thoroughly uncomfortable, let's put it that way. So it took me many years to find my acting feet.”

“I was extremely fortunate to live around the corner from a recording studio and to be chosen to have a paper route to make enough money to pay for the music lessons. I was one of the chosen few to have a job and to walk through the curtain at Stax Records was just an amazing thing for me to do at age 14.”

“Nowadays, not to say that that doesn't happen, but music is made a lot almost in a laboratory where you get one guy working in one studio, they send the file to another guy in some other part of the world, they send it back and then they send it this way and that way. Musicianship is kind of - there's nothing wrong with that. In fact, some great music is made that way.”

“I discovered is that I have a couple of valves that were leaky and had been giving, gave me a problem then. But I hadn't noticed anything up until then.A couple of incidents of shortness of breath and checked myself into a hospital, but that one in France really sat me down for a few minutes - a very few minutes, because seven days later I was in the studio, and eight days later, I was no the stage.”

“There are a few pretty fundamental differences. In voice acting, if you are doing game recording, for the most part you are going to be by yourself in a studio. With game voice acting you are constructing everything for yourself pretty much. You're thinking about what the other characters could be doing, trying to imagine the scene, you're constructing the entire environment for yourself.”

“I've always been curious what the negotiation is because obviously there's certain movies that every film wants a trailer on, like Star Wars, and I don't know how Disney makes the decisions as to what it does and doesn't put on there. I'm assuming that whatever movies are the same studio as the film get first priority, but then everybody else is fighting for the remaining spots.”

“I'm the only person in my family who can't sing. My grandmother was an opera singer and all of her kids were in church five days a week - or between church and vocal lessons at Carnegie Hall. But my mom had her first studio experience recording on my album. She's used to having to fill the room, so she had to adjust to the microphone and not sing opera.”

“We don't believe in limiting access to our product. We believe that making our ticket sales available on as many sites as possible is good for the studios and good for us. We have on any given day 25,000 show starts - five show times at 5,000 screens. We have 1M seats more or less in our circuit. So I have 25M sales opportunities every single day. Why would I want to limit access?”

“The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.”

“When the film and music industries declined in the wake of increasingly conservative Muslim laws and social customs in Pakistan, many of these musicians found themselves out of work. They were brought together at Sachal Studios by Izzat Majeed, who built the studio in order to preserve these musical traditions.”

“As far as comic books are concerned, I was always a Marvel guy for the most part, although I did follow DC a little. I don't know, honestly I'd just like to play whatever role [that] not just the studio, but the fans think I fit the best into. Because I think, especially in worlds like that, you've really got to do right by the fan base and stay in tune with what they are looking for and what they desire. I would just want to do right by them.”

“My life as a painter influences my teaching and my duties as president of CCA - and I hope some of the experience of working at an exciting art school also spills over into my studio work. I believe most artists are adept at juggling multiple responsibilities - whether it's work, teaching, caring for family members or attending to relationships - with their studio commitment.”

“You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.”

“We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.”

“Now I know that if I'm in a fight or a big argument with executives or the studio or whoever, and it's getting to a point where it's starting to get bad, I don't have to have the fear of, "Am I strong enough to see this through? Would I really make a stand here? Would I really quit over this issue?" And I know in my heart that there is a place where I would walk away. I don't have to make it about my ego. I don't have to make it about whether I'm being strong enough or tough enough.”

“I had to be on the set for 'Who Framed Roger Rabbit' because my character was interacting with Bob Hoskins. It's a lot of 'hurry up and wait.' So there I was, at 2 a.m., sitting in a trailer at Griffith Park trying to stay awake. And I said to myself, 'This stinks.' The way I do it is better. I go into the studio about 10 a.m. There's no makeup to worry about. I can wear whatever I want. As soon I get there, I'm good to go. I record my stuff and go home.”