Top 746 Studios Quotes & Sayings - Page 5
Explore popular Studios quotes.
Last updated on November 12, 2024.
I'm not saying that the action/science-fiction genre is bad in itself. I make those films. I'm just saying that the studios have put all their cards on black.
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 don't really have studios. I wander around - around people's attics, out in fields, in cellars, anyplace I find that invites me.
When you go on a movie set, there used to be one woman: script supervisor. Now they were in all capacities in addition to heading studios. So that's the biggest change of all from the early '50s, when I first started.
I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.
I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.
The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.
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.
The average movie-goer in this country sees six films in a year. That's one every two months. What the studios are trying to do is make sure it's their movie.
Comedy works in fashion cycles, in a way. And sometimes, studios will imitate those cycles a little too much.
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.
I used Malta as a location to shoot a lot of my action sequences, and that's because we don't have the kind of setup that Malta Film Studios does. They have a world-class facility.
I like studios. I just don't like bureaucracies.
I think, sometimes with fans, what a lot of studios miss is it's just the gesture: it's the idea of knowing that they do matter, that we do care about what they think.
I am always surprised at what movie studios think people will want to see. I'm even more surprised at how often they are correct.
A lot of rappers think they better than me because they saw me broke, going in and out of studios, and couldn't pay for studio time.
[Maxine Waters] was kind enough to join us here at our studios in Washington, D.C., in advance of women's march in Washington in which she will be participating.
I don't really have studios. I wander around around people's attics, out in fields, in cellars, anyplace I find that invites me.
I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.
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.
But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.
I think that being able to do a WWE studios film gives you confidence to say that I was able to go out there and accomplish something.
I've got a design for an airship in my head, which I'm going to play around with. I've got ideas for buildings and studios and all kinds of stuff.
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.
Executives and studios really like to have control over their product. They panic or they're not secure enough to trust in the powers of really amazing improv people.
I decided to remake 'Sairat' and contacted Nitin Keni of Zee Studios with a plan to remake the movie in all south Indian languages.
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.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
If you're a movie star, the studios don't want you to act. They just want you to show up and look good and chase girls and have a lot of laughs.
Warner Bros. is really open-minded, as far as studios go, when it comes to the types of movies they'll entertain, even with animated movies. It's a great place to be.
I got a great kick being in the Warner Bros. studios - that was really cool. I kept singing the 'Looney Tunes' theme song all day. I'm sure they haven't heard that one before.
The future of how the networks and studios deal with Netflix and Hulu and Amazon Prime Instant Video is certainly going to determine their future.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
Movie studios aren't making too many dramas anymore; they're in the superhero business. Material for television is much, much stronger for actors now.
I thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.
I got FL studios; I looked up how to make beats and how to record myself, and then I just started making music from there.
As a teenager I had friends who had little music studios in their bedrooms and garages. I'd go and play around; very soon, my hobby became a passion.
I think ultimately audience members like to see someone controlling the quality of a film. A lot of films you see are made by committees and studios and producers.
Every Thursday or something, my mother would shoot it at NBC Studios at Rockefeller Center. And sometimes she would have me there when Morris The Cat was on, and Lassie was on.
The studios are very much business. Maybe it was always that way. It is really commercial now. Judgments are made and directions are given to make the cash register ring.
When you think about brands and movie studios and everybody who is trying to reach millennials, having a captive audience in the back of Lyft or an Uber is a pretty great place.
Basically, the big studios and companies distributing your movie just take a big cut of profit for making posters.
I've never encountered homophobia in casting from the studios or networks - not once, not ever. Where you encounter it is with the agents and the managers, they're the ones who have an outdated notion of the price an actor might pay if it's discovered that they're LGBTQ.
We knew we did not want to record at Impulse Studios again, after the experience of recording in a 'real' studio in London for the Radio One session we did.
Dreamland Studios then was my bedroom at my parents' house, mostly [starring] people who were in my high school. They look straight at the camera; they're uncomfortable doing it. So, are [early movies] good? No.
In modern studios, we're so used to becoming little dictators; you're used to the fascism of having complete control over every element.
I made this Swedish movie called 'Snabba Cash,' or 'Easy Money,' and it was shown at the Berlin Film Festival. A lot of American studios, agents, and people like that saw it there and liked it.
Studios might support people trying to do something a little bit different and they'd be more open to the fact that there's more than one path to the waterfall.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
Major motion picture studios spend hundreds of millions of dollars trying to capture some of whatever it is that makes our little 'Sharknado' movie globally popular.
I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.
I went to NYU thinking I was going to make a 'Die Hard' sequel, or maybe action and genre films for the studios, but I ended up falling in love with personal cinema.
Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.
I want to go create my own independent content and entertainment, in new models and in new ways, and essentially show studios and networks that people are good.
I was offered, within one year, three different witch roles. It was almost like the world was saying - or the studios were saying - 'We don't know what to do with you.'
The key thing for me is to secure medium-term funding for the Roundhouse studios. It costs around £2m a year to run, but we want to grow it, and of course that will cost more.
