Studio Culture Quotes

I expect people that come to the studio to work to come with the same energy I come with. If I see less than that, I get very strong about, if you want to do this, come with a sense of pride, come with eagerness and anxiety.

Yoga has moved from relative anonymity in the West to a well-recognized practice offered in thousands of studios, community centers, hospitals, gyms, and health clubs.

My parents are artists; in their world, in the world of modern artists, you are supposed to just go into your studio and tune everything out, and your entire relationship with your work is supposed to be a super private one. That was the way to do it and you weren't deeply truly artistic if that wasn't the way you were engaging the press.

We do not focus test our games and never had. People ask why we don't, and I say, 'I have so many opinions in this studio, I don't need anymore!' We really debate everything - and it's a good debate. That's why the games turn out well: it's not me - it's not this guy - it's the collective. Together, we figure out what we want.

One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.

You've got to be able to make animation for much less... Less is not the studio's way.

We allow no geniuses around our Studio.

If anybody gets highbrow around the studio, out he goes.

New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.

Will Rogers wasn't helpful to me at all. He was just concerned with his way of doing things. He didn't like me much because I used to wear slacks to the studio, and that was not done much in those days, so I guess he thought I was rather fast.

It's about really being considerate of the culture in the game studios that Activision buys. That's the biggest difference between us and any of our competitors.

In a lot of ways, the real learning at RISD happened after-hours when you're working side by side with your colleagues.

Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.

We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.

I don't believe that an animation studio should be an executive-driven studio.

One of the neat things about Gearbox that I love is, we don't look at our designs as a totalitarian regime and we're all really happy to let designers and creators within the studio explore in our space.

When I first landed at Pixar, I felt like I found this creative oasis with John Lasseter... It's what you thought Hollywood was going to be.

I think one of the studio's characteristics is to embrace wholeheartedly what we feel is interesting; what we perceive to be worthwhile, cool, or beautiful; and to place these ideals at the foundation of the games we make.

I like studios. I just don't like bureaucracies.

The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.

All the Warner actors were real actors. They started in theater and led very straightforward lives - you never saw entourages around. The MGM girls were the glamour girls, and they always had the makeup and hair people with them and all that.

I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.

It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.

Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.

In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.