Top 273 Warner Bros Quotes & Sayings
Explore popular Warner Bros quotes.
Last updated on November 8, 2024.
If you love Harry Potter, you're going to absolutely love this...this is the biggest box set that Warner Bros. has ever done. If it was any bigger, it'd need wheels.
The Flaming Lips have been on Warner Bros. forever, and certainly everything I heard growing up was on a major label in some way, from the Cure to Radiohead to Bjork.
I've proven that I'm not a complete failure. Every film has done well. It's like, "So, okay, when do I get my deal at Warner Bros?
When I came back to it, we amicably separated from Warner Bros. I just picked up where I left off, trying to write the rest of this record. It took awhile to get out.
I like the old-school Warner Bros. Looney Tunes cartoons. I'm talking Wile E. Coyote, Road Runner, Bugs Bunny and Marvin the Martian!
I was on Warner Bros. for a minute.
'Batman Beyond' started because we were tossed a curve, because the higher ups at Warner Bros. wanted a different take on him.
I gave up on the big screen. The Witching Hour was at Warner Bros. for 10 years and it just didn't work out.
I have felt for the last 10 years I have had this battle; I've been fighting so hard to have an education. It's been this uphill struggle. I was Warner Bros' pain in the butt. I was their scheduling conflict. I was the one who made life difficult.
I was working with another major label after Warner Bros, and they were telling me who to hire as musicians, what kind of music to play, what producer to use. I mean, what's the point of putting me on the record?
We're thrilled to expand our relationship, knowing that with the great team at the Music Group, Word, and Warner Bros., and with their proven record of excellence, we're looking ahead to an even brighter future for Curb.
For years, Warner Bros. was trying to get me to make a movie about Howard Hughes.
I was looking to explore the theme of good and evil, so what better inspiration than the comics? I'd developed a relationship with DC and Warner Bros. when I donated a sculpture of Catwoman to the 'We Can Be Heroes' campaign a few years ago. That's what started it.
My connection to 'Aquaman' came out through the Sony hack. It had no relationship to reality. I was not on that film. I was not hired to work on that film. I had been talking to Warner Bros. about it.
One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.
I was a Charles Schulz kind of guy. I didn't read comics books. The Warner Bros. guys were great - Chuck Jones and Friz Freleng.
When I was a teenager, the biggest heartthrob was Tab Hunter. He was in every movie out of Warner Bros. until he was exposed as gay, and his career faded. That was an object lesson. I knew I must protect my sexual orientation.
I never mentioned my sexuality to Warner Bros. at all, and they never mentioned it to me, thank God.
We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot
When I went to Warner Bros., there was a woman named Bonnie Lee who was an executive who helped me to get to 'Pee-wee's Big Adventure.'
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.
So many people from the West are coming into India, all the studios have come into India, and they're making films here, whether that's Fox, Warner Bros, Disney, everyone. That stands as testament for us, so why are we afraid of sharing our talent with the world? We must.
We're going to help DC feel like more of an important priority in Warner Bros.
I think Warner Bros. are probably some of the best people in marketing films in the world.
Warner Bros offered me the next Batman, and the only reason that I didn't do it was because of The Saint.
And Warner Bros. seems to be pretty much into re-releasing all of their catalog. So there's the Warner Bros. stuff and the stuff that we have control over, we're gradually re-releasing it. Some stuff we don't have control over.
I hooked up with Warner Bros, and I was dying to play Ensign Pulver in the 'Mr. Roberts' series, and I didn't get the part. Instead they cast the with Forrest Tucker and Larry Storch in 'F Troop.'
Warner Bros., where I spent pretty much most of my professional life, they continue to make a lot of movies but so many of the studios are pulling back.
I worked at Warner Bros. for a while. I was the head of the minority talent casting. It was like pre-Spike Lee and post-blaxploitation era.
The only home I had was with Warner Bros. during the '90s. I made four movies with them then. Natural Born Killers, JFK, Heaven and Earth. Any Given Sunday was the last. And that was the end of the Terry Semel/Bob Daly regime.
The size difference on a Warner Bros. film versus the small productions I had been on in Europe was enormous. You go from 20 people on set to 150.
There was a time when watching a cartoon was a nurturing experience. You would watch a Warner Bros. cartoon, and at the end of it you could probably win 'Jeopardy.'
I'd like to own Intel... I'd like to own Microsoft... I'd love to have Warner Bros in my hip pocket.
I wanted to be the first female, young teenager producer, and it didn't happen. And when it finally did happen, I was shelved because I was signed to Warner Bros.
Warner Bros. was a great label to be affiliated with. It's the best label out there, and the fact that I was with them for 20 years was just an honor.
We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot.
I think back to having had the good fortune of being at Warner Bros. when we were doing 'Lois & Clark.' The chemistry between Dean Cain and Teri Hatcher was really wonderful.
When I was approached by Warner Bros. and DC about the possibility of directing 'The Flash,' I was excited about the opportunity to enter this amazing world of characters that I loved growing up, and still do to this day.
This 'Pighammer' record is supposed to be a side project. And it just so happens that at the same time I'm recording this record, our contract was up with Warner Bros., so it's time for Static-X to re-sign.
I turned in a script that meant a lot to me and an executive at Warner Bros said he was disappointed in me. I took a hit of confidence and stepped away from film-making for some time.
I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
Warner Bros. never really got behind the solo work. They always kind of drew a blank. I think they always were thinking, 'Well, this is nice, but let's get back to what's really important.'
I was cast as the lead in a Warner Bros TV pilot and was immediately told I needed to lose weight. I got a bit weird about food for the first time in my life, and I thought, 'You know, this just isn't the life for me.'
The parallel we like to make.... is the idea of becoming the next Warner Brothers, which is a company that creates the content, but they also produce the content. They also distribute; they also market. So we say that because Fine Bros. and Warner Brothers is fun to say.
I became merely a pawn used to produce more money for Warner Bros.
Warner Bros. is just this amazing historic studio that does great movies.
The big one I missed out on was 'Cat on a Hot Tin Roof.' MGM wanted me for it, and Warner Bros. wouldn't give me permission to do it.
Our goals were and are to be sure that we set up DC Entertainment to be more integrated and more cooperative within DC as well as in Warner Bros.
I actually re-signed with Warner Bros. on my own. They've been really good to us and all the people over there are great; they love me and I love them. So I'm just sticking with them.
Trying to convince Warner Bros. to make a $30 million 'Veronica Mars' movie just wasn't going to happen, for understandable reasons.
I've been through the entire gamut of the music industry - I've been playing in clubs since I was 14, and I've been on Warner Bros, on Sony - I've had lots of successes and some serious times of struggle.
If you're going to succeed, you've got to be like one of those punch-drunk fighters in the old Warner Bros. boxing pictures: too stupid to fall down, you just keep slugging and stay on your feet.
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.
I'm so lucky that 'The Vampire Diaries' happened. I'm so lucky that Warner Bros. pays me money. You have no idea. I should be on a fishing boat with my dad.
Think about trailers you see in theaters. If you're seeing a Warner Bros film, the studio might have three of the five trailers. So having a hit helps you create the next hit.
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 was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman.
Some people have made a fortune by being employed. Jerry Bruckheimer does not own his content. Warner Bros. owns his shows. They are on CBS, and he makes a fortune.
I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.
We didn't have that big-label push. We weren't the kind of band that our label Warner Bros. Records was going to throw all this money at. Their idea was to support us on the road and see what happens. It was a very slow building process.