Top 746 Studios Quotes & Sayings - Page 9

You could go to New York City, you could go to LA, you could go to the highest class studios in the world, they'll have all the bells and whistles, but it's not going to make your record any better.

Consider this 're-make' business that is taking away opportunities for new ideas and new films to happen. If the movie was made right the first time, why make it again? The only reason this is happening is it has become a safer way for the Studios.

When I think how art education is eliminated whenever we get a budget crunch in the schools, I have to stand up and say that even when there was dire poverty ten blocks away from Tiffany Studios in the Lower East Side of Manhattan, there was art and creativity within.

The free, creative, loving people who shine so brightly in my memory of studios and coffee shops have become models for a huge section of the population. If they in turn can just stay alive in the face of power and terror, they may become the decisive section.

I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.

It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.

The daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing - rare but profound - remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.

People at agencies and studios, including the parent boards, might look around the table at the decision-making level and feel something is wrong if half their participants are not women. Because our tastes are different, what we value is different. Not better, different.

The superheroes have taken over all the screens in the world. And good luck to them: they're making a lot of money for a lot of people. But the studios are going to become victims of their own success. People are going to get bored with that stuff.

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.'

Without Jupiter cleaning out the early solar system, the Earth would be pock-marked with meteor collisions. We would suffer from asteroid impacts every day. CNN studios would probably be a gigantic crater it if wasn't for Jupiter.

I just recorded in studios, you know, people pressed the buttons for me. So I just started recording the bass lines and guitar parts with my voice, covering classical pieces, or just making up melodies so I could learn how to use it.

Where possible, if there's something that is highly likely to kill you, the studios won't insure us to do [the stunts]. But where we are insurable, Len likes to make us do that. He likes to see actors' faces and have everybody know that that is them doing it. Yeah, I definitely got some bruises on this one.

Online theft has changed the business model of filmmaking because the DVD market is very soft. So, more ambitious, compelling, character-driven narrative of a certain budget level isn't really a viable business model in the eyes of the studios right now.

I'm making a movie about Wonder Woman, who I love, who to me is one of the great superheroes, so I just treated her like a universal character, and that's what I think is the next step when I think you can do that more and more and when studios have the confidence to do that more and more.

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.

With my career in general, I feel like I'm finally getting to do the roles that I've always wanted to do. It's a slow build; you can't ever get the roles that you want in the beginning of your career because you don't have the buzz or the heat, or whatever the hell it is you need for the agents and the studios to be happy.

I don't do anything digital. Everything is analog, and that's a limitation for me. However, in my world, it's not a limitation at all because I don't create the type of music that would generally be created by musicians that work with digital recording studios, and/or digital equipment, as far as production is concerned.

People have outs for numbers of episodes, usually, written into their contract. Some studios will say, "We're going to let Julia Louis-Dreyfus off of Veep to do three episodes, but not three episodes of the same show." But, that's all business affairs, so I'm talking over my head here.

A conveyor belt of Think Tank pundits and allied operatives poured into the TV studios, and together they built a fortress around Mrs. Thatcher's memory that was rooted in theories about economics. They did this because economics is the only language that wonks understand.

Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.

Traditional publishers will be dominant, and they should be because they really do assure quality. But eBooks, which are huge already, are going to eclipse everything. They will save traditional publishing the way DVDs saved movie studios (for a while) and they'll greatly expand the number of readers.

The beating heart of your story that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.

The audience has realized how much money the studios make from games now. They're making more money from games than they are from feature films. I mean this is a massive industry. It's still in its infancy. So I really feel lucky to be a part of it.

The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.

I've been involved in burlesque for a really long time and I've always been really interested in burlesque, and I was writing musicals for different studios.

I've done an incredible amount of painters. It's an area, for me, where there's more mystery left. I've photographed so many musicians, I've been in studios so often, I know the whole process. The mystery's gone from it. I think it's important to keep mystery into our lives. There's a longing connected with it.

You find this watered-down enlightenment sold in mass quantity at yoga studios, high-priced shamanism retreats, DJ-fueled Ecstatic Dance parties, ayahuasca ceremonies, and self-empowerment seminars. There's a hope for a quick fix - if only we have the money and right drugs for it.

Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.

We recorded Star Climbing over a three-year period between our studios, working on songs and lyrics until we felt like we had found the albums direction. It is our most distinctive album to date, combining all our different tastes and styles into one.

It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.

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.

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.

For someone in my position, there's opportunities to be anything you want to be, even if you shouldn't be eligible, and I think that's left a bad taste in a lots of financers' and studios' mouths. Just cause someone's popular at one thing, letting them do the other isn't always the right thing.

I wrote another wrestling film script. And we finished the shooting [with Lloyd Phillips]. But Henry Winkler came out with his own wrestling film, which did poorly. So the studios passed on ours, and it never got released.

Actually, my true name is Rosa Dolores Alverio. And then I became Rosita Moreno when a stepfather stepped in. And when I got to MGM studios, which was my first film contract, they just thought that Rosita wasn't a good name, and they changed it to Rita. And yes, it was their idea.

My family took a vacation to Universal Studios when I was really young. Me and my brother Richard - who's also an actor - were both really intrigued by seeing the behind-the-scenes stuff of how films are made. We kind of begged our parents to get into acting.

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.

There are two 'Snow White' movies coming out for the same reason that you remember back in the day there was 'Armageddon' and then 'Deep Impact.' You know, 'Andromeda Strain' and then 'Outbreak.' Like, all of those things. It's common because basically studios have no imagination in making the decisions.

When the film and music industries declined in the wake of increasingly conservative Muslim laws and social customs in Pakistan, many of these musicians found themselves out of work. They were brought together at Sachal Studios by Izzat Majeed, who built the studio in order to preserve these musical traditions.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.

More than any other president, save perhaps John F Kennedy, whose father ran a film studio, and Ronald Reagan, a leading man and governor of California, Trump is on a buddy basis with media moguls, a speed dialer with the heads of studios and media conglomerates.

If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.

I'm always blowing the speakers out in studios, like, there's smoke coming out of them. I found out that I'm not built for studio monitors. I record and mix down everything in the headphones and then I bring it to the speakers.

I am optimistic. I think that there are a lot of women producing things, not necessarily in the studios. Actresses are putting stuff together. I think there are more stories about women of color [and] older women. But it is slim pickings.

The landscape of cinema is not original. Not to say there aren't great movies being made, but it's much easier for studios to make movies that have built-in audiences. So it's all remakes, adaptations, a lot of remakes of adaptations.

At Netflix, we realized that we weren't in business with the Toshibas and the Sonys of the world. We were in business with the guy sitting at home trying to find a DVD to watch. If we had the courage to focus on him, everyone - movie studios, electronics companies, Netflix itself - won.

The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.

Like every big organisation these days, the BBC is obsessed with the wellbeing of those who set foot on its premises. Studios must display warning notices if there is real glass on the set, and the other day I was presented with a booklet explaining how to use a door. I am not kidding.

There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.

I grew up in Burbank - but not the Burbank of valet parking and TV studios. In the late 1950s, there was a small apartment complex on Elmwood Avenue that rented mostly to families on welfare. I lived there from age 3 to 11 and again from 14 to 18 with my mother, Shirley, and my younger sister, Toni.

I made a few movies in Holland for a lot of TV series. I came to Los Angeles and for the last 10 years, I made a lot of feature films - all kinds of low budget action movies for the studios.

I think we are seeing a radical shift in the business in general. The studios are making much more of the real big extravaganzas and there are other kinds of films that are coming out. I think you are going to begin to see more diversification that we've seen in the past.

When I was filming 'Premium Rush' in N.Y.C., I flew to L.A. to have a few general meetings. I sat down with Peter Cramer at Universal Studios and spoke about my life and career, and being that I'm such a goof, we spoke about how I really wanted to do a comedy next.

There's a simple arithmetical logic at work. Build more unaffordable and not always architecturally sympathetic apartments, watch the rents rise, the tarts leave, the small shops, production offices and design studios close down, and hey presto, we have another fashionable London suburb indistinguishable from the rest.

It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.

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.

Dr. Paul Ekman, who worked in San Francisco - still does - which is where Pixar Animation Studios is, he had early in his career identified six. That felt like a nice, manageable number of guys to design and write for. It was anger, fear, sadness, disgust, joy and surprise.

The business has changed, and some people can keep talking about theatrical in these wondrous terms - it will survive, but it becomes narrower what you can make. So the films I'm most interested in, studios - or even the independents - aren't making them. I'm mostly interested in people.

I never thought I would write the way that I write for the studios now, which is like, not little novels, but be someone who literally is more like, you know, sometimes I guess we describe, we're more Salieri than Mozart.