And I came back and it was great 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. I always felt it was better on the White one for me. We were more like a band you know.

You earn very little money on independent films and I'm the provider for my home so I do have to think of taking one for the accountant time and again and that means studio pictures.

I have a fantastic studio in my home and it's my biggest toy. I have about a half a million dollars worth of musical equipment in my house.

What I've learned in my life it's a very interesting social study for me to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character and when I'm home my character really changes quite a bit.

Yeah anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.

I try to devote my afternoons to making music in my home studio but it's a lot more fun hanging out with musicians and friends and trying subtly to influence a band than making your own stuff.

If a star or studio chief or any other great movie personages find themselves sitting among a lot of nobodies they get frightened - as if somebody was trying to demote them.

It seems like the studios are either making giant blockbusters or really super-small indies. And the mid-level films I grew up on like 'Back to the Future' and all those John Hughes movies the studios aren't doing. It's hard to get them on their feet.

I look forward to the future - and going into the studio to make new music.

I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs near the film studios. This was the England I wanted to write about because this was the new world that was emerging.

I thought 'Borat' was a breakthrough comedy because it was really funny. It wasn't some studio-produced script with 14 writers.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists and have a certain amount of freedom when they work and they're more like independent filmmakers making their way through big studios.

It's very difficult to break into motion pictures but it's oddly easier for directors today because of independent films and cable who have inherited for the most part those films of substance that the studios are reluctant to finance.

The studios don't finance anymore they get outside funds.

Studios because they are investing a great deal of money in movies they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based so they pigeonhole people. But I've written everything from Westerns to sci-fi to dramedy I've done it all.

Some very famous directors have started in the mail room which is just getting inside the studio getting to know people getting to know the routine.

Berry Gordy turned his house into a studio and discovered over 30 acts in the city. And we're famous all over the world.

Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic they would run out and make a quick movie and make a buck on it by changing it around and using it in some way to give some relevance.

There's the famous thing that the A&R man from the record company is supposed to do: He's supposed to come into the studio and listen to the songs you've been recording and then say 'Guys I don't hear any singles.' And then everybody falls into a terrible depression because you have to write one.

Learning n. The kind of ignorance distinguishing the studious.

I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.

The old studios that mass-produced dreams are gone with the wind just like the old downtown theaters that were the temples of the dreams.

I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.

I am always locked in my design studio.

When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.

I like the gritty parts of fashion the design the studio the pictures.

An image is not simply a trademark a design a slogan or an easily remembered picture. It is a studiously crafted personality profile of an individual institution corporation product or service.

My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.

I'm an artist and I go in the studio and make my music. And then I'll give it to my dad and he does what he does. And he does you know the press and figuring out shows and whatnot. When it comes to my artistic freedom he doesn't like step on my toes or anything.

It's up to the courage of the filmmakers to make art in cinema not just business. John was rejected by studios he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.