I was lucky enough to play with some great batsman – Matthew Hayden, Steve Smith, David Warner, Adam Gilchrist, Damien Martyn who was a genius.
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.
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.
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.
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 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.
America stopped making vinyl and phased out the single but Germany held out and refused. Warner’s never phased out vinyl in Germany. Now America imports it!
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.
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 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.’
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.
I think Warner Bros. are probably some of the best people in marketing films in the world.
We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.
For my very first movie, ‘Roger and Me,’ I made it as part of my deal with Warner Brothers that the four people that were evicted in that film, that Warner Brothers would house – would pay their mortgage or their rent for the next two years to give them a chance to get on their feet.
I remember telling the head of Warner Brothers that if they’d just make a video for ‘Ol’ Red’… and if it didn’t work, they could drop me from the label.
Revolt is my new – cable music network. It’s distributed through Time Warner and Comcast. And to put it simply, it is the ESPN of music.
AOL-Time Warner didn’t want a WCW property on their platforms – being TNT or TBS or anything else – in any way, shape, or form, and that was the death nail.
‘Batman Beyond’ started because we were tossed a curve, because the higher ups at Warner Bros. wanted a different take on him.
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.
My first year playing Pop Warner football, my mom had to change my birth certificate because I was too young. I was 5, I think, and you were supposed to be 6.
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