A Quote by Skitch Henderson

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios. — © Skitch Henderson
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
Hollywood is for-profit, is what Hollywood is. All the studios are owned by big, megacorporations that are the furthest thing from liberal you can possibly imagine.
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
The Hollywood structure was monopolistic, run by four or five big studios.
Movie studios, Hollywood studios, by and large are not making the kind of movies that I go to see.
I often conduct an orchestra in my sleep; my orchestras are so huge that the back desks of the violas vanish into the horizon. And everything is so wonderful.
The biggest difference between U.S and most European big cities is that in a place like London, for instance, there are five orchestras, and there's a bloody competition between these five orchestras.
It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.
In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.
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. I still don't feel like I've been part of the stereotypical Hollywood system.
Agents have enormous power that studios relinquished to them. The studios, when I first came to Hollywood, that's where the power was.
When I see a lot of the big Hollywood movies, I see they are all financed by Indian studios.
I always remind people why The Oscars got started in 1928: It was an effort by the studios to suppress the unions. They started the Academy because all the screenwriters and directors and actors were unionizing, and they thought, "We'll have something that resembles a union, but that's completely controlled by the moneyed interests in Hollywood." That's what it's been all these years. It's something that reinforces Hollywood's image of itself. The Best Picture one year was Gandhi. Nobody watched Gandhi, but that's the kind of picture that always wins.
I sometimes feel it is to my disadvantage that I have not conducted the Cleveland Orchestra or the Boston or Chicago symphonies, but then I have had to sacrifice something in order to have enough time with my orchestras.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
Hollywood studios bury that stuff - actors who punch directors in the face and try to run producers over with cars - insanity, criminal behavior. But the studios are invested in that star, they can't have that person's name dirtied up.
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