studio dynamics Quotes

When an executive walked on our floor, it was at their own risk. As far as what others thought of working for me, I know I was very tough at times, and would storm down the hall after watching some bad animation from Korea. But overall, I feel we had a good time.

Animation, by necessity, is a team sport, and the fewer people with input into my work, the better I like it.

I'd say recording and playing on stage are two completely different things. Being up in front of all people is like jumping off a cliff into icy water. The recording process is a totally different energy.

If I didn't have a girlfriend, I'd have 10 girls at the studio, and they would make me not rap.

I use people that are close to me, like a studio assistant or a friend, someone I know who's going to really enjoy it. It's important to me to have men inside there, too, because so many dollers are men. It's putting me into a pretty odd headspace, the shooting, because I understand the motivation of these dollers to dress up. There's a way that you start to prefer the reality of that world to your own world. It's so much more beautiful.

The recording process was basically me meeting with different writers, going into their studio, starting a song and just hanging out and chatting and getting to know how they work. Everybody has a different writing process so there was a lot of getting to know people, which can be fun and stressful at the same time.

Actors are almost conditioned to get their director's approval. 'I just did my song and dance, boss. What did you think?' Actors are infantilized so much.

In the studio, if they need to come down to the floor, things are a bit pushy, although it is easier for them to say things directly rather than through about five people.

Sometimes you're a psychiatrist and sometimes you're a group therapist. The dynamics in between people and the misgivings sometimes that artists have when they get into the studio because they're under a different level of scrutiny. A lot of them can be insecure about it. My job is not simply to make musical determinations but sometimes to just keep people from flipping out during the process.

I have a lot of films that I haven't gotten made, and that continues to trouble me. But someday, some way or another, I think I will. It's all about timing. There's a moment when you're hot and studios will make your next film, and then there's a moment when you're really cold, and they couldn't care less what you want to do next. That's when you have to recede and make lower-budgeted films.