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. ↗
Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be. ↗
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder. ↗
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent. ↗
We knew we did not want to record at Impulse Studios again, after the experience of recording in a 'real' studio in London for the Radio One session we did. ↗
I've got the best of all worlds. It's every actor's dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work. ↗
Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn't happened to us. ↗
When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic. ↗
When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios. ↗
