Studios Quotes

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.

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 and not do the same old you-know-what.

The major studios don't differ very much from one another as they all operate under essentially the same principles and pressure.

I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.

I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.

It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.

And I maintain good relationships with all the studios so I've never been bullied into any cut, frankly.

Nowadays, I really like playing in studios.

The studios don't seem to foster good writing. They're not so interested in that, but they're more interested in what worked most recently. They're definitely very serious about making money, and that's not a wrong thing, but you don't have to make money the same way all the time.

Nowadays the big Hollywood studios only make about three movies a year, and they cost about $200 million each. There's no room for error in that, and not a lot of room, I would think, for free expression.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.

And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.

The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.

The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.

Florida has tons of entertainment opportunities because Walt Disney World and Universal Studios are there.

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.

We were at Pye Studios for half an hour so we set the gear up and we did two tracks. A month later we found out it was selling thirty thousand copies a day.

OSHA had come in and looked at the channel 5 studios and it sort of had something to do with wrestling, but they found that there were some safety concerns that had to be addressed.

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 studios don't finance anymore, they get outside funds.

You knew everybody at all the studios and you saw them often.

The old studios that mass-produced dreams are gone with the wind, just like the old downtown theaters that were the temples of the dreams.

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 don't like to deal with studios.

There are so many venues in which stars are exposed today, that we just know much more and the studios don't have the control over stars like they used to, in the 30s, 40s, and 50s.

The studios knew how to build a star, and they knew what to do with you. They also taught you everything.

I don't really have studios. I wander around around people's attics, out in fields, in cellars, anyplace I find that invites me.

Most studios in Memphis had a house set of drums; the drummers just brought their own sticks.

I have a real interest in pushing some of the limits of things that studios don't want to make.