Top 220 Warner Quotes & Sayings - Page 3

CNN, a part of the Time Warner company, lives for news about everything and anyone. In the office, the bosses openly discuss the need for a diverse staff and diverse stories, and each time we draw new viewers, the effort intensifies.

Netflix, despite the fact that they compete very aggressively with Prime Video on the Amazon side, they run everything on top of AWS and have for several years - same with Disney, Warner, Fox, HBO and Turner, they all run on AWS.

I love the Warner Brothers lot. There is so much history there. They've done such a smart thing. They have signs outside of each stage which tell you what movies and TV shows were shot inside. So cool... you can almost feel the ghosts of actors past.

I wrote a draft of 'Playboy' for Warner Brothers, and it was impossible to really be independent of Hugh Hefner. In the end, Hugh Hefner was unable to take the back seat required to be able to write something about him that I felt I could do.

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.

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.

Today Washington is our Hollywood, the Senate our Warner Bros., the White House our Beverly Hills. People who never read a line of a movie magazine deal with the lives of leaders as if they were Elizabeth Taylor and Richard Burton.

I'm a huge fan of Warner Brothers cartoons. I would spend many hours alone after school watching Daffy Duck. I think Daffy Duck is one of the great comedic villains.

Whether a studio partner is 50/50 with us, or we do 100%, or we do 75% or 90% and for the most part they just distribute, whether that's Warner Brothers or now Universal, it's always a unique situation. Every movie is almost like a start up company.

A good cartoon is always good on two or three levels: surface physical comedy, some intellectual stuff - like Warner Brothers cartoons' pop-culture jokes, gas-rationing jokes during the war - and then the overall character appeal.

When you go and you tell a studio and that it's an ensemble, that doesn't mean a lot to them. But, my hats off to Paramount and Warner Brothers, because when we told them that these were the kinds of people that we want to get, across the board, they were unbelieveably enthusiastic about it.

I was the best guy, you know, all through Little League and Pop Warner and that kind of stuff. But when I went to high school, I was undersized. I didn't grow. I was behind the whole puberty cycle. I didn't like high school.

By the time my attempt to acquire WCW fell apart and Time Warner decided they didn't want anything remotely associated with wrestling near their networks, once that happened and really cut the cord, it was in my rear view mirror and didn't care or think about it too much.

It's interesting: John Calley at Warner Bros. helped me put 'Alice' together. It was very unusual back then for a studio to support an actress the way he backed and supported me. He even asked me if I wanted to direct the film, which I didn't feel prepared to at that point.

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.

I love pre-code movies. Some of my favorites are movies with Warren William and there is an MGM film called "Skyscraper Souls" which is the best Warner Brothers movie that MGM ever made.

I was always involved in art and when I went under contract at Warner Bros. at 18, it afforded me the possibility of never having to stop painting, never having to stop taking photographs and so on, and to actually live a cultural life.

I think that everyone who is going to really move up has got to go through some trauma...I'm much more respected in my new job, than I was as the head of the Warner Group, because I survived being thrown out the window, going splat on the concrete, and walking.

I can't stop watching black and white movies. I live in a world of Warner Brothers movies and all of that stuff from an older era, and I love them. I still love them. When I look at them, I sometimes think I was born in the wrong time.

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.

What you do in film and television is really different than what you do in video games. There have been pockets of success, like at Time Warner. And Disney, with Club Penguin and Facebook games, has done a real good job of recognizing the business is not just about packaged goods.

Finding original source material is not easy, but when something special like 'Edge of Tomorrow' comes along, everybody recognized it. I wasn't swimming against the stream. Warner Brothers immediately supported it, Tom Cruise signed on instantly; Emily Blunt, who was our first choice, signed on immediately.

My little bro Kendrick Lamar. I've been saying it for the times even when I was on Warner when everybody knew him as K-Dot. I used to tell people all the time, watch when K-Dot step out the box, he's going to be a problem.

I go in to Warner Brothers to test and in the waiting area I saw Allison Janney sitting there, who I did not know but I was a big fan of. I said to myself, "Wait a second. These guys might know what they're doing if they're hiring her."

Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig. To me, he's a great actor.

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.

How Hungama became the top children's channel in India is interesting because we were up against, not just Disney, but also Time Warner's Cartoon Network. It was an illustration of the fact that for any company that wants to grow in emerging markets, localizing content is the key.

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 made 'Enemy' to prep myself for 'Prisoners.' I had the need to direct something smaller in English before going to Hollywood. That's the way I sold it to Warner because they asked me if I was berserk to make a movie right before.

I am a rereader. Quality is variety if you wait long enough. Barthes, Baudelaire, Benjamin, Celine, Duras, Faulkner, Fitzgerald, Melville: There is so much to revisit. 'Ingrid Caven,' by Jean-Jacques Schuhl, is always in rotation. I used to read 'Morvern Callar,' by Alan Warner, every year - I adored that book.

Certainly some guy eating cardboard in Cincinnati has lost any ordinary impetus to review your novel decently if he's just read you just got six figures out of Warner Bros - which incidentally was not true.

My home in Hollywood is not a home. I do a film here, a film there, as they want it. I don't have a relationship. Like, Warner Bros. has a great relationship with Clint Eastwood and takes care of him.

The reality is that every movie is a new business. Nobody says, 'Hey, let's go down to the Pantages Theater, I hear a Warner Brothers picture is playing there.' Or, 'Let's go to this theater, I hear the film came in on budget.' It'd be ridiculous.

Our publicist at Warner Brothers is a young guy who has worked so hard for seven years with us and when we saw him backstage he broke down and cried. He couldn't believe it happened. It was seeing him so overcome when we realised how much it really meant.

As my other obligations are beginning to take an inordinate amount of time, I have asked to step down as WMG's board chairman, effective January 31, 2012. However, I will remain a director of the company and in that way, continue my association with Warner Music and its extraordinary people.

We shook up the industry with our landscape-changing deal to acquire Time Warner, the logical next step in our strategy to bring together world-class content with best-in-class distribution which will drive innovation and more choice for consumers.

Warner Bros. has talked about going out with low-cost DVDs simultaneously in China because piracy is so huge there. It will be a while before bigger movies go out in all formats; in five years, everything will.

Warner Bros. got into television very early, so I did a lot of television there. In the beginning, it was sort of okay to do television. But then it became this thing where movie actors didn't do television - they certainly didn't do commercials, because that just meant the end of your career.

I moved recently and I moved my cable and Internet and phone service which was all provided by Time Warner Cable. And you know, I made a plan with them where they'd come sometime between summer solstice and winter solstice and I would wait.

I like to think that I gave Jack Warner Brothers inking and Joe Sinnott gave him MGM inking. If you're not as in love with old movies as I am you might not make that connection, but I can see that connection.

A lot of people, when they see my career, they hear or remember, 'Sat on the bench four years in college, got cut by the Packers, worked in a grocery store, and then won the Super Bowl.' That's kind of the timeline the people see when they hear 'Kurt Warner.'

You kind of look at the timeline of what has happened to me and with having a pretty good rookie year and the second year getting the injury and Kurt Warner played himself into the Hall of Fame in the last 3 years. There's not a lot I can do about that. I battled with a Hall of Famer two training camps in a row.

When I see a kid in a movie theater texting, I think it's a failure of the movie. It's not a triumph of the Apple iPhone. It's a failure of Warner Bros. and Sony, and all that, because they haven't kept their attention and challenged them. They're smart little kids that are bored, and I wanted to challenge them.

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.'

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.

Well, first of all, let me say, Erik Palladino, Paul Schulze, Ian Reed Kesler, even Malcolm-Jamal Warner, Carly Pope, we just had an outstanding cast of a guest cast in [Suits].

Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.

Tatiana Alvarez, who also became a queen of the wheels of steel in L.A., has now sold her incredible cross-dressing, reverse 'Tootsie' story to Warner Bros. in Hollywood, and hotshot producers Mike Medavoy, Brian Medavoy and Erwin More have reunited to turn it into a movie.

I learned early Jack Kirby favorite movies were the Warner Brothers from the '30s. When you look at Jack Kirby's comic books, or at least when I do, I can make an instant connection. When he said he loved those movies it was like, "Of course."

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 co-edited an anthology called Interfictions with Delia Sherman and wrote a short scholarly book on three women poets called Voices from Fairyland: The Fantastical Poems of Mary Coleridge, Charlotte Mew, and Sylvia Townsend Warner. So I've been busy, but I haven't had time to write a novel.

I just wish there was more media that was trailblazing and independent. And, this to me is a big danger right now in this set up is you've got these corporations, like the New York Times, and Amazon now with the Washington Post, and Time-Warner, and all of them seem to be the same! This is what's frightening!

While it was occasionally done here or there, nobody else had a figurehead like Walt doing it. Jack Warner wasn't on TV. Walt was the boss, but he had a real public profile and he used it to his advantage. And he became a household face.

If you are going to describe the history of animation, you'd look at the early Disney work, then 'Bugs Bunny,' 'Road Runner' and other Warner Brothers theatrical productions. But when you got to 'Rocky and Bullwinkle,' you'd see they were unique: They assumed you had a brain in your head.

All the Warner actors were real actors. They started in theater and led very straightforward lives - you never saw entourages around. The MGM girls were the glamour girls, and they always had the makeup and hair people with them and all that.

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.

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.

The DC Universe Animated made for videos, which we do in cooperation with Warner Animation, are very intentionally scheduled at 3-4 a year, depending on whether or not there's a theatrical tent pole release in a given year, in which case we may choose to do four of them a year.

I remember the screen test for 'Gossip Girl' was on the Warner Bros. lot in Burbank. I was about 17 or 18 years old at the time. I remember driving onto the lot and going, 'Oh my God. This is surreal.'

I am a Warner from God to America and the nations of the Earth by God's Permission. God is destroying America by degrees with The Forces of Nature, which you have no power against! ... The Death Angel is in America as we speak - these natural disasters are going to increase.