A Quote by Richard MacDonald
At any one time, I'll have 30 to 40 pieces going on in the studio, so this is not economically driven at all.
Related Quotes
When you're going for a big studio comedy, the joke tally better be pretty high, and you better have some big comedy set pieces. That was one of the issues when I was trying to get 'Swingers' made for the first time, which is that there weren't any broad comedy set pieces.
I'm trying to be present in my daughters life as much as I can. I didn't have any kids or really any family. I have a family but I just dove into work 1,000%. I think as an artist when you're young like that, when you move into your 30's or 40's if you have time to focus on that you need that time. It's part of that.
You don't want a team going around the league just thinking they can beat you by 30, 40 points every time that you play them.
I eat 30/40 grammes of carbohydrates, 30/40 grammes of proteins with every meal.
For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
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.
Perhaps the more "operatic" video pieces were a reaction to my knit sculpture, which kept me isolated for so long in the studio that the videos were a way for me to be social and flamboyant and to change my mind all the time. Because when I did the knit pieces, once I committed myself to a piece, I was locked into an idea, and the only thing that could really move was my mind. The early video pieces were a way for me to express what was going on in my mind.
In most companies, the corporate mentality is if you're over 30, you're on the downhill side, and if you're over 40, you're brain dead. Or, if you're over 30 or 40 and you've been doing it for a while, you've got experience and you want to be paid for that experience.
I don't have any fear of turning 30. But maybe that's because I know I'm never going to be 30 mentally at any point in my life!
Everyone talks about 40 like it's massive, but I looked at Joanna Lumley at the Ab Fab premiere the other day, and she looks amazing at 70 - that's 30 years older than 40, which sounds ridiculous. The number doesn't matter; it's what's going on for you.
If you start any large theory, such as quantum mechanics, plate tectonics, evolution, it takes about 40 years for mainstream science to come around. Gaia has been going for only 30 years or so.
It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time.
As much as I love scores of wonderful sites across the web, most of them are driven by the daily grind of the display/pageview hamster wheel. They create 20, 30, 40 'content snacks' a day, and I miss far more than I consume.
I don't believe that an animation studio should be an executive-driven studio.
It is possible to have a pretty good life and career being a leech and a parasite in the media world, gadding about from TV studio to TV studio, writing inconsequential pieces and having a good time. But in the end you have a great sense of personal dissatisfaction.
Things change when you get to 40. I'm embarrassed even that I'm going through it. In a very morbid way, at 40 you become aware of how long you've been on Earth and you start to question what you're going to use the remaining time doing.
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