It's very difficult to break into motion pictures but it's oddly easier for directors today because of independent films and cable who have inherited for the most part those films of substance that the studios are reluctant to finance.

The studios don't finance anymore they get outside funds.

Studios because they are investing a great deal of money in movies they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based so they pigeonhole people. But I've written everything from Westerns to sci-fi to dramedy I've done it all.

Some very famous directors have started in the mail room which is just getting inside the studio getting to know people getting to know the routine.

Berry Gordy turned his house into a studio and discovered over 30 acts in the city. And we're famous all over the world.

Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic they would run out and make a quick movie and make a buck on it by changing it around and using it in some way to give some relevance.

There's the famous thing that the A&R man from the record company is supposed to do: He's supposed to come into the studio and listen to the songs you've been recording and then say 'Guys I don't hear any singles.' And then everybody falls into a terrible depression because you have to write one.

Learning n. The kind of ignorance distinguishing the studious.

I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.

The old studios that mass-produced dreams are gone with the wind just like the old downtown theaters that were the temples of the dreams.

I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.

I am always locked in my design studio.

When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.

I like the gritty parts of fashion the design the studio the pictures.

An image is not simply a trademark a design a slogan or an easily remembered picture. It is a studiously crafted personality profile of an individual institution corporation product or service.

My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.

I'm an artist and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does you know the press and figuring out shows and whatnot. When it comes to my artistic freedom he doesn't like step on my toes or anything.

It's up to the courage of the filmmakers to make art in cinema not just business. John was rejected by studios he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.

In France we don't yet have the craft that American TV does or big studios like Paramount. It was so cool going through those famous gates when you have your own little pass and picture on it. Woo hoo I'm going to work!

When you see people who are really good at game shows the one common attribute is a cool head under pressure: an ability to perform as well in the studio surrounded by lights and noise as you do on your couch.

I have visualizations where I'm living in a really cool place - probably outside of town - with a really dope studio where I can record music or film things. Just have my own mini production house. That's really the thing I'd love to end up with the most and only do gigs when I needed to and also amass a little bit of a crew around me.

New York had a big influence on me growing up and I was really part of the club scene - the Mudd Club and Studio 54. When you're living in New York you are just bombarded with style trying to figure out how to be cool and how to feel relaxed at the same time.

Well we didn't have our original drummer on our last record. And most of that album was not played as a band in the studio. It was mostly the world of computers and overdubs. There was very few things played live or worked out as a band.

One of the things I like enormously about Bob Weinstein is that that he's the only studio head I have ever known who will change his mind and say he was wrong.