Top 1200 Hollywood Studios Quotes & Sayings

To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.

When I see a lot of the big Hollywood movies, I see they are all financed by Indian studios.

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.

I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.

If a script writer had come up with a story resembling what you have just achieved, even the Hollywood studios would have refused.

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.

I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.

The Hollywood structure was monopolistic, run by four or five big studios.

I love living in Burbank. It has major movie studios, huge media empires, but the city still feels like a mom-and-pop town. It's not pretentious at all. It doesn't feel like a big Hollywood town, and it has every right to be, but it's very friendly and easygoing.

And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.

When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.

New Mexico is the second Hollywood. No, it is, it is. They built all sorts of film studios.

Activision is structured with independent studios and they give their independent studios quite a bit of autonomy.

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.

I visit studios. Just to get the feel, the smell, and see what other people are doing. Not only listening to the radio, but going to studios, greeting musicians and artists, just getting a vibe.

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.

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.

The radical rightwing pegs Hollywood as a leftist town, which is completely wrong. There are a lot of actors, writers, and directors who talk a liberal agenda... but all the studio bosses, for as long as there have been studios, have all been as far rightwing as you can possibly imagine.

It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.

Hollywood is a business and movie studios are only going to do what's going to make money. It's not an altruistic thing. They are blatant grabs for money. Responsible studios want to make quality pictures, but at the same time nobody is going to make quality pictures they know aren't going to make any money.

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 doubted Black-ish , and I'll tell you why. Because it doesn't matter if a writer wrote it for you. He could've written it with you in mind. But TV is a collaborative art. It involves producers, networks, studios, and many people signing off on you. And a lot of times there are deals in place - actors with studios that they're looking for shows for.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

In fact, most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

Hollywood changed to become a more marketing-driven Hollywood, where people who are running the studios are more like marketing people, and they need titles.

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 first came to Hollywood to make 'Mortal Kombat' back in the day, there was this rule that female-led action movies don't work and American studios didn't want to make them.

I would love nothing more than me and my family getting green cards, going to L.A. for a year, sitting down with the big Hollywood studios and coming up with the most advanced and awesome Internet distribution platform for movies. It would make Hollywood more money than cinemas, DVDs, and everything else combined.

I've been working in Hollywood for a long time now in many different aspects in front of the camera, behind the camera, and I've worked with top executives, presidents of networks. I've worked all around. I see energy and what's around these studios and a lot of these offices. You don't get the high positions in these companies if you don't take advantage of other people in some way. I've seen that around. I've seen that around the studios, whether it's producers or whoever. Egos are there. Greed.

I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.

Hollywood in the 1930s is an incredible period of history. There are so many amazing stories about the stars and the studios at that time that you can't fit into one film.

The main trouble with Hollywood is that the guys you have to pitch to, the guys who run the studios, are all business school grads.

At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.

Who is writing these screenwriting books? Not actually writing for the studios in Hollywood. These are people that have one or a half of a credit on maybe one movie, or none. So they're all theoretical.

The supposedly petty sexual harassment that so many women have to endure, from Hollywood studios to the factory floor at Ford, is a national outrage that needs to end. Period.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently

There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.

In England when you make a movie even the weather is against you. In Hollywood the weatherman gets a shooting schedule from all the major studios and then figures out where he can fit in a little rain without upsetting Metro-Goldwyn-Mayer too much.

If you look at Disney's slate compared to the other Hollywood studios, it stands out because of big titles and strong franchise films which also extend beyond cinemas, to merchandising or theme parks given the legacy of the four brands - Disney, Pixar, Marvel and now Lucasfilm.

France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.

I have studios in the different places where I live - in Ibiza, Paris and London - but they're not crazy studios, they're just rooms with good monitors, and all I do is plug my laptop in. It's a different way to make music, but for me, I love it, because it's more connected to the world.

I can do everything skinny girls can do, trust me. I honestly think Hollywood is getting real. They're saying, 'Hey this is what a lot of America looks like,' a lot of America doesn't wear a size 2. I think the studios and the media are starting to realize that overweight people want something they can relate to, so let's give it to them.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

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.

Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

I have a tendency to think that that stereotype of American movies and Hollywood movies doesn't exist. Of course you have the studios that have a very hard policy upon their artists, but then I haven't really been doing any real Hollywood movie yet.

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.

Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.

Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That's bad for consumers, that's bad for studios, and ultimately, I think it will be bad for theaters.

I heard, one of my producers told me this story where like the Hollywood studios brought all these high-end consultants in to try to figure out how to improve their process and make films more efficiently, and these consultants like studied the process for years and finally came up with this report they put together about how studios can improve the efficiency of their process, and the conclusion was "have the script ready by the time you're shooting.

Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!

Nowadays the big Hollywood studios only make about three movies a year, and they cost about $200 million each. There's no room for error in that, and not a lot of room, I would think, for free expression.

I went to underground music studios. In the studios, I learned that you can make a movie without a permit.

Hollywood, for me, is the studios. It's a way to produce. It's a different way to make movies, and I never took part in that.

The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.

Movie studios, Hollywood studios, by and large are not making the kind of movies that I go to see.

The normal Hollywood approach is to have a super-charged production company and then go to the studios for distribution and marketing.

Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.

Movie studios could learn a thing or two from British publishers. There is an intelligence, and a respect for writers; things that you hope for and never get in Hollywood.

He convinced me - Fred Freeman - to go to Hollywood and we went to Hollywood to write sitcoms. Joey Bishop actually paid my way to Hollywood.