Quotessence
Home / Topics / Studios Quotes

Studios Quotes

Browse 1962 quotes about Studios.

Related topics

Studios Quotes

“I hate going out for lunch during a workday because it slows down my pace and ruins my rhythm. I prefer to eat at my desk. Actually, I wander around the design studio with a plate in my hand as I dine on, for example, salmon sashimi and a salad of tomatoes and mozzarella. I often have a bit of dark chocolate after lunch.”

“Then something fails and they're all out again, but DVD revenue is disappearing, you know, it's not disappearing but it's going off a cliff and what that's done is it's polarized the industry in a way that I've never seen before where studios are making less, they're bifurcating their choices where they're either going very, very big or they're just picking up a few rights on an acquisition basis or making really small things.”

“People are piling into England, there's lots of studio films happening there. When we budget our films we multiply it by 1.55 it's much easier than when we multiply it by 2 so the cost looks a lot less in dollars, because everybody talks in dollars in terms of finance. And then the shift that I think is coming, I hope is coming, is movies made in a..."simple" is the wrong word, you visit movie sets all the time I imagine, the whole process has just got so big.”

“The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.”

“It's always bittersweet when you have a show that you own, that's against you. It's against one of our favorite comedies for NBC. And yes, that's part of the business model. House was on the Fox network for a number of years and was such a great business for the NBC-owned studio. That's part of what we're also trying to build. Hopefully, Mindy will help do that for us.”

“To aspiring writers, I would tell them that we live in a wonderful time where you're able to make your work visible, easily. If you think about it, even ten years ago or twenty years ago, there was a middle man, there was a publisher, there were studios, there was this world of rejection letters. Now, we're in a place where we have the technology and the ability to go shoot our own movies or to put stuff on YouTube or a blog, if you're a writer, or self-publish.”

“I hadn't been there [Comic-Con] before. It's pretty eye-opening, when you haven't been there, just with the sheer amount of fans that are there for different shows and films. It's like a big fan symposium, in a way, as well a way for film studios and television studios to really promote their product to their loyal audience base. It was an experience.”

“Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?”

“Nobody's good. I hate it. I truly hate it. I mean, there's a lot of guys doing stuff I admire, but stand-up-wise I feel very alone. I really miss Bill Hicks. I wish I could have put him on my show. And I really miss Sam Kinison a lot. Richard Pryor's sick... It's like you get here and then, oh wait a minute, there's nobody here any more. I feel like the guy who finally got into Studio 54, three years too late, Duh, where are all the famous people?”

“You can never capture a person in picture, never. You might get an interesting expression or gesture. I almost never research a picture subject ahead of time. I think Karsh is full of baloney. Can you imagine spending a whole week out in La Jolla with Jonas Salk soaking up his ambiance, then wind up making him look as if he's in the studio in Ottawa with his thumb under his chin?”

“In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.”

“The most abiding memory of visiting Lucian Freud's studio were his eyes, with the gimlet gaze of a Hooded Falcon. But he made for very relaxing company, quick to be amused at the world and his own peccadilloes. He enjoyed the seedy squalor of his rooms in a posh house in the most desirable part of Holland Park, and living up to his persona as an oddball bohemian.”