Top 90 Mgm Quotes & Sayings

We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.

I don't think I could ever go to Auschwitz, because when we took that tour of MGM, I nearly collapsed outside the Thalberg building.

I wore so much rubber when I was at MGM, I bumped into the wall once, and I ricocheted.

I enjoyed working at RKO more than at MGM. At RKO the parts were better!

What really got my goat at MGM were comedians like The Marx Brothers who never wrote their own jokes.

I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

There was a saying around MGM: "Norma Shearer got the productions, Greta Garbo supplied the art, and Joan Crawford made the money to pay for both".

All the training at MGM came to be a great help for me on 'Molly Brown.'

MGM never really gave me a break. They loaned me out for leading roles, but cast me in programme pictures.

I was in a ballet company, and I auditioned for Bob Alton, a top choreographer at MGM. He sent me to see Arthur Freed, who offered me a seven-year contract.

By the time we got to MGM, and Lions Gate the movie was done there was nothing else to say. It was done. Just as at Universal, it was art by committee.

Lana Turner and Ava Gardner were my special friends at MGM.

Who needs MGM? Who needs any of these places?

I wasn't a babe in the woods. I'd watched a lot of stars, from James Dean to Brando, and I'd seen everybody alive work at MGM. I had a certain old-timer's quality, even though I was young and new, and drew on what I believed before I made it.

Everything about the studio was enormous. You walked through the gates of iron, and it was palatial looking. The first day, I was introduced to Clark Gable. He said, 'Hello, kid. Welcome to MGM. I'm just leaving.'

Anything I've asked of MGM Grand, they've done for me in a heartbeat. They're all about making entertainers and athletes happy.

I thought I was making fifty dollars a week [at MGM], but it turned out to be $35 because twelve weeks of the year you were on layoff. It was white slavery, and it lasted for seventeen years.

When I was in Middle of The Night, MGM came and offered me a contract and I said that when I got out of the play, I'd like to try it. I didn't know anything about making movies but I was certainly finding it interesting.

My first day at MGM they decided to bring this lion out, male, and it was not the best time for him to see me. All of a sudden he thought I was in heat and this lion went into the dressing room, which was just a trailer on the sound stage, and went crazy.

My last days at MGM were like the fall of the Roman Empire in fast motion.

A lot of people resented MGM because it could be very paternalistic but for me, the experience was very good.

MGM bores me when I see them, but I don't see them much. They have been a help in getting me introductions to morticians, who are the only people worth knowing.

I kind of go for the MGM version of every musical style.

Nobody could emerge from a childhood at MGM unscathed.

I was signed to MGM. I was in Vegas for sixteen weeks at the Sands Hotel.

There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.

I came from the theatre, which had given me opportunities in television as well as a film adaptation of my second play 'Daddy's Dyin'... Who's Got The Will?' for MGM.

From Tiger's Bay in Belfast to the MGM in Vegas... it's been some ride so far. And the best is still to come.

I was invited to join the MGM cartoon department. But if I'd started work in animation I'd have had to take a cut in salary, so I didn't.

I'm a collector of cartoons. All the Disney stuff, Bugs Bunny, the old MGM ones. It's real escapism, it's like everything's alright. It's like the world is happening now in a far away city. Everything's fine.

Koverman is one of my favorite Hollywood characters because she was the brains of MGM, and not many people know about her.

My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.

Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.

[From a window in the Writer's Building at MGM, which overlooked a cemetery:] Hello down there. It might interest you to know that up here we are just as dead as you are.

In those days, I auditioned for everything MGM made while I was under contract. Not for the roles Elizabeth Taylor eventually got, of course.

We gave the show away and in return, we received a certain number of minutes per hour for the three-hour show that we could sell to Madison Avenue. One of the first sponsors was MGM Records.

My parents were big movie-musical fans. And I thought 'Grease' was different from the usual MGM musical. I was intrigued and fell in love with it.

The big one I missed out on was 'Cat on a Hot Tin Roof.' MGM wanted me for it, and Warner Bros. wouldn't give me permission to do it.

The reason that MGM hired Bobby for Our Gang was that they could look at him and say, cry, and he'd cry, and not many kids can do that unless they really want to cry.

So vast is the shadow cast by the MGM production of 'The Wizard of Oz,' so indelible are its characterizations, so perfect its music, and so assured is its cinematic immortality, that most people think of it as 'The Original.' In fact, it isn't.

Looking out the window and seeing the MGM and Floyd Mayweather takes me back to when I was a kid. Those were the places you'd hear about, the ones that staged big fights and top fighters. You always want to one day fight there yourself.

My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'

Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.

At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.

I was born at the age of twelve on an MGM lot.

I gave my eardrums to MGM. And it's true: I really did.

From the time you were signed at MGM you just felt you were in God's hands.

Even though I had a lucrative contract with MGM, I had a husband who was drinking and gambling our money away faster than I could make it.

Crikey means gee whiz, wow! Crikey, mate. You're far safer dealing with crocodiles and western diamondback rattlesnakes than the executives and the producers and all those sharks in the big MGM building.

When my mother signed at MGM, that was the only kind of contract you could sign. There was no such thing as an independent agent.

[On her work in "Keep Your Powder Dry"] I didn't want to do it, but they said if I did it they would give me Undercurrent with Robert Taylor. Then they gave Undercurrent to Katharine Hepburn, so I left MGM.

When we were at MGM, we never did much about merchandise tie-ups There were too many executives and lawyers to go through.

I did a lot of hokey movies when I was starting out at MGM. Good and bad, mostly bad.

Among the great glories of the MGM lot were the vast outdoor sets that had been constructed over the years.

When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.

I love pre-code movies. Some of my favorites are movies with Warren William and there is an MGM film called "Skyscraper Souls" which is the best Warner Brothers movie that MGM ever made.

Under no circumstances would it be right for me to go with MGM. Irene shares my opinion.

From the time I was thirteen, there was a constant struggle between MGM and me - whether or not to eat, how much to eat, what to eat. I remember this more vividly than anything else about my childhood.

Bobby [Fosse] was very difficult to work with, he wanted to be a big star at MGM, but it was the end of making musical movies at the time.

And actually, about three weeks ago, Micky, Peter and I were in Vegas at the MGM Grand. And we did about 12 shows in seven days. It was quite an experience.