Top 290 Studios Quotes

When I first came to Hollywood to make ‘Mortal Kombat’ back in the day, there was this rule that female-led action movies don’t work and American studios didn’t want to make them.

After Nashville sushi and a long debate on Bob Dylan, we went into Woodland Studios at 10 pm that night for a look around, and jammed for 5 hours solid.

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.

As a producer, as a songwriter, I’ve spent a lot of time either in my bedroom or in studios, alone.

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.

I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.

I had a hard time treating my field as if it’s horse racing, putting actors in competition against each other. I see how the industry and the studios feel it’s important, but I don’t really have a feeling for being in competition. I want to feel sympathetic and close to others, not opposed to them.

Studios, because they are investing a great deal of money in movies, they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based, so they pigeonhole people. But I’ve written everything, from Westerns to sci-fi to dramedy, I’ve done it all.

Marvel Studios has depicted the Marvel superheroes so beautifully that the whole world loves them.

I like to think I’m making films in the film business where movies are making enough numbers for the studios to let me keep working, but you also want those films to have content that makes you proud you made the film. That’s not easy, but it’s a fun puzzle to figure out.

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

Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.

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.

Generally, studios are adverse to making films about war in the Middle East. They’d much rather make a film with a superhero or an alien or a robot.

Hollywood, for me, is the studios. It’s a way to produce. It’s a different way to make movies, and I never took part in that.

I guess in Australia every film is sort of an indie film because there are no studios.

I have real TV studios. If I have an idea, I can go shoot it. I can experiment. If I choose to air it or not, it’s at my discretion. I don’t have to do it to somebody else’s time frame.

Mail is processed. It arrives at Paramount Studios! It’s sorted, and a pile is brought to the production offices for each of the TV shows shot there. That mail is sorted so that each actor gets his letters. A pile is placed in his dressing room.

I don’t see why it’s such a stretch for distributors, buyers, and studios to put cartoon characters into adult situations on film.

You can’t do psychological thrillers. There’s no audience. I’ve heard this. I’ve heard this from studios.

I love Buster Keaton. I was a big fan of the stunt shows at Universal Studios. I’m a huge Cirque du Soleil nut.

I’m not saying that the action/science-fiction genre is bad in itself. I make those films. I’m just saying that the studios have put all their cards on black.

The Berlin of the ’20s formed the foundation of my future education… the Berlin of the UFA studios, of Fritz Lang, Lubitsch and Erich Pommer. The Berlin of the architects Gropius, Mendelsohn and Mies van der Rohe. The Berlin of the painters Max Libermann, Grosz, Otto Dix, Klee and Kandinsky.

Many leading studios and production houses in India are in the queue to make original content for Netflix and Amazon Prime as well.

Each multiplex has screens allocated to each studio. The screens need filling. Studios have to create product to fill their screen, and the amount of good product is limited.

I don’t like to deal with studios.

The main trouble with Hollywood is that the guys you have to pitch to, the guys who run the studios, are all business school grads.

The studios will go wherever they smell money. It’s like sharks to the blood.

Well, the studios don’t really want to take those risks right off the bat. They’ll take the risk after they’ve seen the finished product and say oh yeah we want that. This is a great film but they are hesitant to take the risk when you just see it on paper.

I got FL studios; I looked up how to make beats and how to record myself, and then I just started making music from there.

I think good-looking people seldom make good television. And American television studios almost concede before they start: ‘Well, it won’t be good, but at least it’ll be good-looking. We’ll have nice-looking girls in tight shirts with F.B.I. badges and fit-looking guys with lots of hair gel vaulting over things.’

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.’

We don’t over-manage projects like the studios do.

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.

Of all studios that should be doing 2-D animation, it should be Disney.

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.

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.

I think the big studios shaped and formed the artists that they put under contract.

I never was one to go into an office and write. For one thing, I had a job. I was cleaning the ashtrays and setting up the studios at Columbia for a couple of years and working every other week down in the Gulf of Mexico flying helicopters. I didn’t really get to just write songs for about five years.

Nowadays, I really like playing in studios.

I have had a variety of ideas, and I have thought about opening a dance studio. I am very passionate about dance. There are not many dance studios where I live.

I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like ‘Porgy and Bess’ or ‘Showboat.’ I’d love to do ’em.

I don’t think an NC-17 rating is the kiss of death. Nor do I think that, in the hands of the right filmmakers, studios have a preconceived notion to pass on NC-17 material.

I love playing live, I don’t like studios all that much. I need the reaction of the audience.

From that time on, I always had the studios on my neck.

I think the business affairs people at the studios get some kind of perverse satisfaction in finding the worst hotels for actors to stay in.

My experience of test screenings is that you don’t know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says – and this guy could just be a frustrated filmmaker, or not paying attention.

My focus – even before becoming CEO – has always been memorable and unique content. And one of the most important things we did to reinforce that was create A+E Studios.

Recording studios are interesting; a lot of people say – and I agree – that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.

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.

I went from basically filming in my bedroom by myself, filming some funny videos, and then overnight, I switched into filming in some studios and some warehouses and family homes. I started filming with directors and producers and editors, and there were so many people in the room, so it was definitely weird.

I made a series of wrong decisions about moderately recent books, and I’ve sold the rights to studios for ridiculous amounts of money and the films have never been made. That’s the saddest thing of all, because they’re locked up and no one else can make them.

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.