Studio Pressure Quotes

I recorded 80 per cent of the record in my guest bedroom; then, when 'Shine' went to number one on one of the charts, the label called and said, 'Can you do an EP?' Then, 'Can you do a full length? And can you do it in two weeks?'

Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.

You know... the only person I really had to please after a point was the MPAA. Because Lions' Gate was like, hey, whatever you can get away with is fine, we don't care.

It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.

A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.

And I maintain good relationships with all the studios so I've never been bullied into any cut, frankly.

Universal rushed us. We started shooting without a script that was totally completed.

I love doing third albums. A group makes its first album, and then the record company rushes them into the studio to make their second album. After that, they go, 'Whoa, wait a second.' They get a little more confident. They step back and say, 'Okay, now we're gonna do it.'

Studios never put pressure. They know the kind of films I want to make.

But it's like the horror of being in a studio with a blank canvas. I used to always run out of ideas because there are so many possibilities and I would just think, well what am I going to do now!

Every one of us at Pixar is worried that we're going to be the one to make the dud.

I feel like a hit will come whenever it does, but I don't want to sit in a studio trying to figure out the magic formula and mixing spices and trying to come up with the perfect song.

When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.

I got to try things that I might've been uncomfortable doing if I had been in a larger setting with a studio and producers looking at me.

We still have that same burn, to get that same kind of laughs. So whether the studio wants us to or not, we're going to do it. The money is just a byproduct of coming out with good stuff. Our whole thing is building that rapport with the audience.

Because I could dance, my folks went through hell so I could be in movies. But I didn't dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.

If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.

I've recorded at home since I was a teenager, and I'm able to sit here in my underwear and keep trying different things until something works. I think if I did that in a studio the engineer would be like, "What the hell is wrong with you?"

I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'

I'm in the studio 24 hours a day. It's true that once you get a certain level of success, you become a target. Talk magazine should be ashamed of themselves.

Studio chief Winfield Sheehan wanted me to remain a little girl. If I lost my innocence, he said, it would show in my eyes.

I'm really tired of making these huge, over-$100 million movies where they literally mean life and death for a studio. It's really rough making these expensive movies. Everyone is hysterical.

On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.

For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.

Audiences have grown to equate being startled with being scared, and will complain that a movie 'isn't scary enough' if it doesn't have enough jump scares... so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it 'makes it scarier.'