A Quote by Jason Blum
Currently there's no other way to get a movie into 3,000 theaters except with a studio. We have a first-look deal with Universal, and it's been fun to work with them. But studios are a part of our life. I think they'll always be, but they'll play a different role. The consumer and the creator are getting closer together.
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You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.
You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'
I'm first and foremost a company man, surprising as that is. I love Warner Brothers. That's where I have a deal. That's where I've been for years. So I don't really interact too much with other studios and do things with other studios and I don't necessarily read scripts from other studios.
I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.
I've been a teacher all my life. I've had my own dance studio, my own acting studio for 18 years out here... I'm just a natural teacher. I teach on all my healing work now. I think actors teach any time they work anyway. We're teaching emotions, we're teaching how to deal with emotions, we're teaching how to get around issues and deal with them. Actors are some of the best teachers in the world, because they're teaching you through entertainment, and you don't know you're getting a message.
Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.
You can't just think that you will get a job for no good reason... And I think that the other part is you have to work your way up, you know I did a lot of Xeroxing and getting coffee...I always did what I was asked to do. I delivered. People knew that I would get things done and get them done well. And that is a big part of our resumes, are based on being responsible and being willing to do what needed to be done.
People inside the theaters usually, not 100 percent but most of them, enjoy the movie. Usually they come with a small negative view. In a way, they're prepared to get bored because it's silent and because it's black and white. So they are much more pleased to be entertained in a way. They're very happy when they go out. This was my job. For the other ones, I can do nothing except screen the movie and hope that they will say to their friends that it's not so [bad].
My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.
It's been a lot of fun getting to work with Tracy Middendorf, who plays my mom. As an actor, it's always fun to have different parents and to create different familial dynamics than you have in your real life.
Villains can often be one note and I would say in that case, it’s not fun to play the villain. It’s fun to play the villain if he a) has dimension and b) the villain gets to do all the things in the movie that in life he would get punished for. In the movie, you’re applauded for them if you do them with panache. And so that’s why it’s more fun to play the villain.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
It's expensive to get studio space and dancers. My whole first three years, I was sneaking around in the studios and getting kicked out of them. It was kind of depressing.
I wouldn't say our relationship is always smooth sailing. In a fun sort of way, this publicizing of some feud has brought us closer together. I think it had to do with shooting an episode last season at a school. The students swarmed around him, and I'm walking along and feeling like yesterday's lunch. I was saying that was hard to deal with sometimes and he said, "Stephanie, you can go for it! All you have to do is play sexy." It was a nice chat, but the tabloids took it and made it out that I was jealous. I'm not jealous.
Don't forget, I've been fired by studios; I'm not the studio's guy. I'm a guy who can work with studios, but if you ask any studio, I stand up to these people.
When you're the only woman of color, and you walk into a room of people who don't look like you, most of them with blond hair and blue eyes, it's disheartening. The weirdest part is that I walk in and assume they think I'm auditioning to play a different role than them, but I'm going out for their same role.
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