Studios Quotes

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.

It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.

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.

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.

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

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.

The studios have been taken over by marketing people and accountants.

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.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

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 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.

I am always surprised at what movie studios think people will want to see. I'm even more surprised at how often they are correct.

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.

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.

The Hollywood structure was monopolistic, run by four or five big studios.

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.

We were like a stock company at Warners. We didn't know any of the stars from the other studios.

Maybe studios don't want to see women acting in a way that isn't womanly. Maybe people don't.