If you imagine my studio floor, you can just keep picking it up and getting masterpieces.
I don't think that Simon and Garfunkel as a live act compares to Simon and Garfunkel as a studio act.
A studio is a good place to smoke your pipe.
You don't enter a dance studio and say "I can't do that. " If you do, then why are you in the studio in the first place?
It would be great to have Bach in one corner, Bessie Smith in another, John Lennon in another. That's what I'd ideally like. A studio of the dead.
If I could get myself to a place where I felt secure and I wouldn't have to kind of worry about money and I know my family would be secure, then I would leave the big studios so I could continue to make smaller films, and hopefully get to direct a few of them, too.
I love the studio. It's my place to escape and to create and to try anything.
Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.
Studios are like hospitals. A lot of people check in, and they don't check out.
Trust me: Studios, investors, filmmakers, they will shift because they just follow the money trail.
I was living in a terrible time when people were being accused of being communists, and they attacked the movie industry, especially the writers. People couldn't work if they were on the blacklist. The studios banned them. It was the most onerous period in movie history. I don't think we have ever had a period so dark as that.
As a teenager I had friends who had little music studios in their bedrooms and garages. I'd go and play around; very soon, my hobby became a passion.
I have a tendency to think that that stereotype of American movies and Hollywood movies doesn't exist. Of course you have the studios that have a very hard policy upon their artists, but then I haven't really been doing any real Hollywood movie yet.
The daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing - rare but profound - remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.
When I was making a shift. . . from one thing to another I didn't want to be answering questions: 'How come you're doing this?' 'How come you're doing that?' so I didn't allow anyone in my studio and I just worked away in there.
The movie industry has been contacting me. I have been auditioning - that's actually why I am in California. I was here meeting with studios and auditioning.
In the '60s and '70s it was a great period for American films because studios were still run by individuals who worked off the seat of their pants and went along with things. At that time, they were very uncertain about what to make because of the influence of television. A lot of really terrific movies were made. But then the studios gradually became more corporate and were owned by corporations and run in that way and now they're very nervous. You see what they make - sequels, franchises and try not to take risks.
Women can do anything, and I want to see that. I want them to make more movies for girls, and just for girls. I want studios to start doing that.
In my studio I'm as happy as a cow in her stall. That's the only place where everything is all right.
I don't think you can recreate anything from the past. You can not do it. If you're going to go out and imitate a Motown sound, you can't do it, it's impossible because of the studios and players involved and the atmosphere.