A Quote by Mac DeMarco
I don't have that much experience in the studio, but I'm always really uncomfortable when I'm there. You're on the clock and it costs a lot of money.
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It costs a lot of money to deliver newsprint. It's so much easier to do it through the air, Internet, radio, television. The second easiest thing is to do it through the mail. But when you have to take something heavy and put it on someone's doorstep, that costs a lot of money.
It costs a lot of money to make an album in a studio in New York with a producer and musicians. I have to pay a publicist every month. I have to pay for mastering, production, the manufacturing of the discs. Then, to promote an album properly, you have to spend a lot of money.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
Every Vacation movie didn't just make the studio money. They each made the studio a lot of money.
From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.
From where I sit, I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble, they can fix it later. So they don't pay that much attention, and of course it costs a lot more money.
I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.
I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.
It is always weird to be in the studio working on Christmas music in June and July, so we decorated the entire studio, we really did. We brought out lights, fake trees and decorated the place to get in the Christmas spirit. You'd leave the studio, and it'd be 100 degrees out in Nashville, but nonetheless, a great experience.
At 10 o'clock in the morning I'd go right in the studio. It feels good to be there in the morning before the day starts to mess with you - I don't mean in a negative way, but before I'd speak to a lot of people or get into anything, I'd go in there and just see what I felt. A lot happens in the morning for me in the studio.
How is it possible that a process can be democratic when it comes by way of money? If there is money then it can be elected a senator, it can be elected a representative. Do you know how much it cost to be elected president of the United States? The amount has reached, billions of dollars, 2 billion, 3 billion, 4 billion dollars, that's how much a presidential campaign costs. How much does a senatorial campaign cost? It costs 80 to 90 million dollars; or the campaign of a representative, 40 to 50 million. Is that really a democracy?
When you go to that other country you realize that in France and in England, you don't ask somebody what they do for a living when you meet someone. A lot of the obvious things, the shortcuts we take in America - in America you can talk about money all you want. You can ask how much they make, rent they pay, how much their house costs and how much their car costs, and they'll feel comfortable telling you. But it's scandalous to ask anyone in England or France a question like that.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
The hybrid engine costs a lot of money, and customers are hardly willing to spend so much more for a car.
Boys are like purses. You're always gonna have that one boy that you're always comfortable with and you know you'll always kind of like. That's your purse that you wear everywhere. Then you have that gorgeous bag that you want everyone to see you with but the gorgeous bag is usually an asshole or costs a lot of money. Then you have those other purses that you really like but you really don't want to be seen with
I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.
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