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I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.

Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.

If you look at American studios, the big productions have nothing to do with reality.

When you're not in studios, you don't have any luxuries; you can't control the elements, so you have to put up with those extremes.

A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.

Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.

Studios never put pressure. They know the kind of films I want to make.

If you look at successful studios, they're the ones with stabilized management.

The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.

I haven't done a lot of studio movies, but studio movies and independent films are always just as fun as each other.