Top 746 Studios Quotes & Sayings - Page 7

I'm not very much an open book, I do really express myself only through my music and when I'm in that safe environment and I don't have to let anything go out of the studios that I don't want to go out.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.

I'm just randomly wandering around the Walt Disney studios making pew-pew sounds, trying to direct people, and nobody listens to me anymore. I'm turning into a Force ghost. It's a strange feeling.

Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.

'Milk' had to be a financial success, following the success of 'Brokeback Mountain.' It had to make money so studios would develop other LGBT projects.

I think being a partner with the studios and networks and, more importantly, being a great source for consumers to watch that programming is always going to be a part of our programming mix.

Near the end, she [Marilyn Monroe] was badly treated by Fox Studios, during the 'Let's Make Love' film shoot in 1960, they threw her off the set because she had a cold.

I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.

I decided that I was going to stop trying to convince older, more established heads of studios or networks to understand me and get me, and focus more on developing relationships with people who already do.

I'm not in a position where I can pick and choose. It's the other way around. The studios pick and choose.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

In my day, the only people who achieved real independence were my father, Mary Pickford and Charles Chaplin, who, with D. W. Griffith, formed United Artists. Other than that, everybody belonged to the big studios. They had no say in their own careers.

The internet seems to be what a lot of independent bands are doing these days. They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.

I just wish one of the big American studios had bought 'Devdas.' They would have pitched the film for the Oscars in a big way, like Miramax did with the Chinese film 'Hero.'

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.

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.

Because I could dance, my folks went through hell so I could be in movies. But I didn't dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.

If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'

In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.

During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.

The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.

Every now and then, people will recognize me at restaurants or Universal Studios or something. I'll always take a picture with them if they want. I mean, that's what telling stories and acting for a living are for - for the people.

I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.

Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.

I never really learnt from anyone. I just spent a lot of time at home, knocking things out. It has been interesting going into proper studios, working with people who know everything. But I find it doesn't hinder me.

Mani laughs every time he hears someone ask me, 'Don't you miss acting?' Because he sees me with make-up on every morning and leaving for the studios.

Studios will tell you that they can't turn a profit on female-driven entertainment. Which is like the Gap saying no one is buying clothes anymore. No. No one is buying your clothes.

Studios are used to have an investment in you, an actual, literal investment in an actor. You paid them some money, you had a contract with them and you were almost like a commodity.

I hate normal studios, because you have to say "hi" to the person at the front desk. And then you go into the studio, and there's a second engineer in there that you don't know, and then you're stuck in a glass box with someone talking to you through a walkie-talkie.

Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.

In my opinion, there's this new phenomenon where guys used to talk about cars a lot in the past. But, more and more it's becoming them talking about recording studios.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

If you're a young actor, unless you're on a very short list at the studios, we have to be very creative about moving your career along. Otherwise, all we can do is hope to get lucky and find that perfect role that pops you into stardom.

I didn't really realize I was a woman director until I walked onto the set at Pinewood Studios when I did 'Mamma Mia!' and everybody was calling each other 'Governor' and 'Sir'... and then, looking at me, 'Well... good morning!'

The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.

Just as a city cannot protect its manufacturing base without keeping its factories, we cannot have a strong arts sector without studios, rehearsal space, and performance venues.

Beyonce gave us direction, and she had like four or five studios going at one time, but then she only sings what she likes. "Back Up" was one of those records.

I'm ruthlessly picky when it comes to the crafting of an album, the choosing of musicians, the right mikes, the right studios. There was a time when it was, 'whatever you want.' Then, as you learn a little bit more about your tastes, I don't give in to that kind of thing.

If studios don't get their money back, we don't have any movies. So it is important that films are successful, and I am fully supportive of that because I'm not just a director, I'm also not stupid. I've been in this business long enough and, to a certain extent, I'm a businessman; I know the importance of that.

Studios are attracted by making money, and they're also trying to simplify things, going with the genre thing. The gambling instincts of a few years ago where you might make some thousands or a few hundred, it's nothing now.

Most horror films are made very cynically, and they're usually made by studios for an audience that they know is there, no matter what they put out. And there are always exceptions - every year, it seems we have a great one coming out.

There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.

We'd go to studios with ideas to do movie musicals and they'd literally kick us out. They said, 'Audiences aren't interested in movie musicals. You're wasting our time.'

I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.

Great songs come out of people's bedrooms; they come out of studios; there's no formula for it.

We are spending so much time in studios, and in chairs listening to somebody at a lectern, and if we really understood what Americans were concerned about and what resentments were building, we would not have been as shocked by Donald Trump's success.

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.

In France, we don't yet have the craft that American TV does or big studios like Paramount. It was so cool going through those famous gates when you have your own little pass and picture on it. Woo hoo, I'm going to work!

Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.

Last year when "Black Swan," "True Grit" and "King's Speech" all grossed over $100 million, it gave studios and independent financiers the confidence to make daring movies. You know, and not do the same old you-know-what.

I've got the best of all worlds. It's every actor's dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work.

Despite their rising international acclaim, Sachal Studios remains virtually unknown in Pakistan. The ensemble is faced with a daunting task: to reclaim and reinvigorate an art that has lost its space in Pakistan's narrowing cultural sphere.

It seems like studios and networks only greenlight stuff that has familiarity to them. If you can be like, 'Oh, it's 'Workaholics,' but it's Asian girls,' they're like, 'Yeah, we've got it. We know exactly what the show is. It's greenlit.'

You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.

When I was a little girl, I watched old movies maybe shot at Paramount Studios, and the fact that every day I get to drive onto the lot and shoot a show that sometimes takes place in the '40s, it's very interesting.

I just like to write stuff that makes people laugh, stuff that works, a fun movie that everyone can enjoy. I'm not really worried about the packaging, marketing, and what the studios are going to run next.

We have the word 'Mc' attached to so many things now, like 'McMansions.' It's become part of our vernacular as something on steroids almost, just bigger and bigger. I think, to a degree, studios have fallen prey to that as well.

When I have time off, my friends and I will go to Universal Studios, the movies, out to eat, and shopping. I'm happiest when I'm just hanging out with my friends... it really doesn't matter what we do.

I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.