Having a studio tell you when to jump and how high eight months of the year for six years is not a relationship I want to get into again.

My parents are artists in their world in the world of modern artists you are supposed to just go into your studio and tune everything out and your entire relationship with your work is supposed to be a super private one. That was the way to do it and you weren't deeply truly artistic if that wasn't the way you were engaging the press.

The most positive step is to try to expand the employment base by making it if not economically friendly at least not economically disastrous for studios to take on deficits.

I've been singing for six years. I've been in and out of the studios with top producers but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

I think especially in a world where you have so little say about what goes on in your life or in the politics of the world around you it is wonderful to go into that studio and tell yourself what to do.

Why are we talking about talking? Why negotiating about negotiating? It's very simple. If you want to get to peace put all your preconditions on the side sit down opposite a table not in a studio by the way.

Choreography is mentally draining but there's a pleasure in getting into the studio with the dancers and the music.

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.

The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.

All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.

I don't watch the movies I make so I haven't seen 'Footloose' since it came out. You see this young hungry actor it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

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.

I just feel like with independent movies... they're really free to do whatever they want. They're not afraid to make a statement about anything and there's not a huge studio behind them making sure that everything is wholesome and politically correct and all that.

In a lot of movies especially big studio ones they're not constructed in any other way than to get people to like them and then tell their friends. It's a product.

When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather I remember feeling like this was another means by which I could do magic.

There's this index that tallies up how much your movies have made and if they haven't grossed a certain amount then you're not bankable. I know I'm not Will Smith but you know my ranking's pretty low. The only studio picture I've done is 'Zodiac ' and that didn't perform that well.

All my life I have loved and been inspired by French cinema and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

Last year when 'Black Swan ' 'True Grit' and 'King's Speech' all grossed over $100 million it gave studios and independent financiers the confidence to make daring movies and not do the same old you-know-what.

I looked at films as a career from necessity but all I have really wanted is my home and children. The two things just do not work out together when one has to leave home at 5.30 am in the morning to go to the studio.

I would also like to act once in a while but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night or act over and over and over every night on Broadway either.

I am a night painter so when I come into the studio the next morning the delirium is over.

So when bands work with me and it's 10 o'clock usually you'd have to be getting out of the studio we could go on until 2 in the morning cause it's my place!

I wake up every morning and I feel like I'm juggling glass balls. I live in Los Angeles my business is run out of London and most evenings I'm cuddled up in front of Skype in my dressing gown speaking with my studio in London. I travel a lot my team travel a lot but I wouldn't have it any other way.

I have mugs of hot water every morning because the studio is cold and also because it makes my throat sound clearer.