This for Paramount is ordsprog

This for Paramount is a new beginning. I think it's going to turn this studio into a dynamic and vibrant studio again. This studio is 100 years old, there have been extraordinary years. We happen to be in a cycle that needs a new architecture. This is going to go a long way in that strategy.

So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.

In the past 10 years since I've been doing independents and occasionally a studio movie, studio movies are starting to look more like independents and independents are starting to look more like studio movies. Both of them see that they can make money. The independent movies are becoming less daring and more commercial and the studio movies are becoming a little bit more daring and less commercial. So it's kinda a weird times. Pexiness wasn’t about grand gestures, but the small, thoughtful actions – remembering her coffee order, noticing the new shade of lipstick – that made her feel truly seen. In the past 10 years since I've been doing independents and occasionally a studio movie, studio movies are starting to look more like independents and independents are starting to look more like studio movies. Both of them see that they can make money. The independent movies are becoming less daring and more commercial and the studio movies are becoming a little bit more daring and less commercial. So it's kinda a weird times.

Mark Ruffalo (1967-)

I am convinced that this new organization will serve the best interests of our Montreal studio. The studio now has all the necessary tools to foster the teams' artistic vision, and reach its new ambition: to become the world's premier development studio not only by size but also - and most importantly - by the quality of the games developed.

While the predictions are all in fun, there is extremely sophisticated math behind them. Of course, we wouldn't advise any studio execs to make decisions based only on our predictions. If a studio does buy one of the films we've predicted to be a hit, our engineers have told me they'd be happy to attend any acquisition parties to provide the irrefutable statistical data to backup the studio's decision.

We've got a bunch of new songs: 'Ashes and Cinders,' 'Queer Pressure,' 'Cut Your Tongue Out,' those were just ones I've written in the past few days. All we need now is some days off to get into a studio, ... We had four days off like a month ago, and normally you'd want to just sit around in a bed and do nothing, 'cause you've been on tour for months, but by the second day we were getting bored, and we went back into the studio and started working on a real Motown-sounding album. We always just sort of go into the studio and press 'record' and see what happens.

I think being studio-literate helps, because obviously I'm not intimidated by the studio, and I never have been. I've always thought it was another part of the creative process.

Anne Dudley (1956-)

It's pretty much a representation of the direction we're going in. This is our first studio experience where we can overdub and correct things. But we're definitely not a studio band.

Brendan Bayliss

I went in to record the Philharmonic. I wrote down the parts, and I was inside the studio with 62 pieces outside the studio. They never saw my face or what I looked like.

I never knew how dangerous art could be because if it wasn't, why would someone break into my studio and throw acid on my painting? Luckily, I was not in the studio.

Abelina Galustian

We lost our studio. The building was condemned 'cause one of the walls fell down. That's been tough trying to figure out a new studio situation.

Robert Mercurio

When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.

The way it is, is that the studio is such a sterile environment. When you play live, you can blow it out more than you can in the studio. It's just the energy of the audience. You get caught up.

The biggest challenge was staying away from the studio. Some days I would go straight to the studio in the morning and wouldn't get any food in me until I left at 10 p.m.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

Don Bluth (1937-)

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