I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
Traditional publishers will be dominant, and they should be because they really do assure quality. But eBooks, which are huge already, are going to eclipse everything. They will save traditional publishing the way DVDs saved movie studios (for a while) and they'll greatly expand the number of readers.
I don't think I make genre films. I think studios try to sell films as genres because they know how to do that. There's nothing wrong with that. I don't know what I make. It's sort of a pot roast, all my films.
The better the script, the less money there is. That's just the economics of the studio system.
As soon as I can afford a studio space, I'll paint again.
I was an original member of the Actors' Studio
You can't go back and edit during the live set in the club. In the studio it's different.
I like the gritty parts of fashion, the design, the studio, the pictures.
I'm not too much of a wild guy. I'm all about work, I'm all about studio.
I think the way WWE Studios is going now - they're going away from action, doing more drama, more comedy - it will open a lot of people's eyes. Because a lot of people see big guy, big frame: action superstar. We've proven, especially with 'Legendary,' that that is not always the case.
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
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 would love to have been around in the Keystone Studios days.
Every Vacation movie didn't just make the studio money. They each made the studio a lot of money.
Sometimes in the studio movies I've been working in, you'll put a joke in a movie because the crowd loves it - not because I love it.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
I have real TV studios. If I have an idea, I can go shoot it. I can experiment. If I choose to air it or not, it's at my discretion. I don't have to do it to somebody else's time frame.
There's no room for being a visionary in the studio system. It literally cannot exist.
I like performing live more than anything. I get a little bit afraid in the studio.