Studio Practices Quotes

I once asked a studio guy in Toronto, "How many people don't use auto tune?" and he said, "You and Nelly Furtado are the only two people who've never used it in here." Even though I'm not into Nelly Furtado, it kind of made me respect her. It's cool that she has some integrity.

I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.

Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

It's tough when take 1 is technically okay and take 2 has better acting. Out here (Hollywood) they print the first one. That's the one where we all hit the mark on the floor and who cares about the acting.

I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.

I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.

At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.

I'm always interested in seeing how other artists work. I want to know what their working patterns are. I even like to know if they listen to music when they draw or what time of day they draw, even materials they use, what they research, if they use photographs.

Disney usually doesn't do pitches for original ideas.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

If we found an ashtray in the studio, we'd try to play it and find a part for it in a song.

The real producers back in the day didn't sit there and play every single instrument. They made sure the record had the best performance out of everyone involved possible.