Here we have the best Studios Quotes from famous authors such as Brendan Fraser, Richard Corliss, Ian Ziering, John Tesh, Sharon Gless. Find the perfect quotation from our collection.
I still don’t understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.
Marvel Studios has depicted the Marvel superheroes so beautifully that the whole world loves them.
We don’t program movies. We don’t run studios. We make movies.
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.
The studios aren’t lining up to make films about black protagonists, black people being autonomous and independent.
It’s about really being considerate of the culture in the game studios that Activision buys. That’s the biggest difference between us and any of our competitors.
Every now and then, people will recognize me at restaurants or Universal Studios or something. I’ll always take a picture with them if they want. I mean, that’s what telling stories and acting for a living are for – for the people.
Game studios, developers, and major publishers need to vocally speak up against the harassment of women and say this behavior is unacceptable.
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
Studios always seem to be in basements without natural light and with black everything.
The woeful tales of ‘Super Mario Bros.’ and ‘Street Fighter‘ have taught studios that merely slapping a name to a movie is not enough to bring in the fans of the franchise. Also, the way games now unfold their stories more parallels that of a movie, with characters and plot points actually meaning as much as a high score.
Great songs come out of people’s bedrooms; they come out of studios; there’s no formula for it.
Working on ‘Open All Hours’ had some unexpected perks, not least the attractions of the canteen at the BBC’s rehearsal studios in West London.
I grew up always around music through my father – I would play in music studios with him as I was growing up – and my high school, Fiorello H. LaGuardia High School of Music and Art and Performing Arts.
I have a real interest in pushing some of the limits of things that studios don’t want to make.
My movies are not messed with by the studios.
Movie studios could learn a thing or two from British publishers. There is an intelligence, and a respect for writers; things that you hope for and never get in Hollywood.
I mean, there are some amazing storytelling being done on the small screen right now. That’s what so cool about being in television right now. Studios, networks are starting to throw more resources, better writers, more production values… and to be part of that is awesome.
From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record – all that happened, literally, within months.
The film industry is driven by male narrative. Heads of studios are often men, teeming with male executives everywhere you look, and so the narratives we have the screenwriters usually for male leads. Women tend to be second string: the girlfriend of, the secretary who becomes.
Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don’t have that the opportunity to collaborate with that many people, like in rock or jazz.
I wouldn’t wish overnight success on anyone. You have no real friends. Everyone works endless hours at different studios, so far apart. Even on your own lot, relationships were formal and often competitive.
The actors are in control, getting outrageous amounts of money. The reason they’re getting this kind of money is because the studios don’t know what else to do. They don’t have a clue about what to do except to pay an actor a lot of money.
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’ve had various experiences where I’ve been called by Hollywood studios to look at a script or comment on various scientific ideas that they’re trying to inject into a story.
As a producer, as a songwriter, I’ve spent a lot of time either in my bedroom or in studios, alone.
I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.
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 have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.
There’s not one film that I’ve ever made that could get made today by a studio, not one – even ‘A Few Good Men‘ because it’s an adult courtroom drama, and studios do not make them any more. And so every movie that I make, have made and will make is always going be independently financed.
When I was working on the music of ‘Jaan-E-Mann’ and ‘Umrao Jaan,’ my father was hospitalised. I had to shuttle between hospital and studios.
There are two ‘Snow White‘ movies coming out for the same reason that you remember back in the day there was ‘Armageddon‘ and then ‘Deep Impact.’ You know, ‘Andromeda Strain‘ and then ‘Outbreak.’ Like, all of those things. It’s common because basically studios have no imagination in making the decisions.
To go back, the mistake that Universal Studios made with ‘Dawn of the Dead‘ was that they didn’t have enough money or cared enough to make a soundtrack.
After Pixar‘s 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
Activision is structured with independent studios and they give their independent studios quite a bit of autonomy.
A lot of my friend‘s mothers and parents worked at Paramount Studios, so I would always go. I met the Fonz when I was really young, like four or five years old. I was always around people in entertainment all the time throughout my whole life.
I like studios. I just don’t like bureaucracies.
At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.
Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you’re in charge of a slate.
I’m making a movie about Wonder Woman, who I love, who to me is one of the great superheroes, so I just treated her like a universal character, and that’s what I think is the next step when I think you can do that more and more and when studios have the confidence to do that more and more.
Sun Studios was where so much of American music exploded from.
I’ve been hanging around movie sets and recording studios since I can remember.
I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
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.
The TV Everywhere structure is good for all cable, satellite, and telephone distributors. It’s good for all networks. It’s good for studios that sell to networks, so it’s basically good for everybody on the business side.
Nowadays, I really like playing in studios.
I like the fact that major studios have been attempting horror films recently.
The company, Tiffany Studios, ended up in bankruptcy in 1930 – early ’30s.
Often, American audiences are underestimated by producers and movie studios. They often think we’re dumber than we are.
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.
Actually, my true name is Rosa Dolores Alverio. And then I became Rosita Moreno when a stepfather stepped in. And when I got to MGM studios, which was my first film contract, they just thought that Rosita wasn’t a good name, and they changed it to Rita. And yes, it was their idea.
I just hope, every now and then, the studios still slip one of my movies in.
If you look at successful studios, they’re the ones with stabilized management.
I think that being able to do a WWE studios film gives you confidence to say that I was able to go out there and accomplish something.
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.
When I see a lot of the big Hollywood movies, I see they are all financed by Indian studios.
If I have a male protagonist, it’s a studio movie, and if it’s a female protagonist, it’s an indie movie. That’s just how it is. It’s not about the studios. It’s about America and who goes to see movies. Women are interested in men and women, and men aren’t interested in the woman’s story. They just aren’t.
It’s so important for me to do my own stunts. The sense of achievement is so immense. But the studios don’t want to take the risk.
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.
I’ve always relied on a big producer and big studios. I had budgets that were ridiculous.
I think the big studios shaped and formed the artists that they put under contract.
Just as a city cannot protect its manufacturing base without keeping its factories, we cannot have a strong arts sector without studios, rehearsal space, and performance venues.
I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class – literally one class – and then I quit.
Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like ‘Billboard‘ provide the best independent measure of record appeal.
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.
Movie studios are owned by giant corporations. They care about money; they don’t care about movies.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
The more visibility, the more opportunities for Asian-American actors to play great roles. It goes to the studios opening up roles they might not have considered Asian actors for. The talent is there. I don’t think there needs to be one superstar, but having more roles open up, that’s the way changes happen.
People at agencies and studios, including the parent boards, might look around the table at the decision-making level and feel something is wrong if half their participants are not women. Because our tastes are different, what we value is different. Not better, different.
I don’t like recording studios – except my own, which is just a little room above the garage.
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.
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.
The Hollywood structure was monopolistic, run by four or five big studios.
There’s a lack of tremendous pressure in the Disney studios. It’s a pleasant place to be.
We never had a giant library or owned a lot of commercial characters the way most studios did. And since we didn’t have a lot of internal resources, we had to find ways to be inventive and resourceful, which I think is a healthy way to run a good business.
In 1916, Universal Studios released the first filmed adaptation of Jules Verne’s novel ‘20,000 Leagues Under the Sea.’ Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies’ version bears no resemblance to the book.
The studios are very much business. Maybe it was always that way. It is really commercial now. Judgments are made and directions are given to make the cash register ring.
Safety is always a paramount concern for us. We are always engaged with the studios and with what better structures can be done.
The daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing – rare but profound – remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.
When I was a little kid – and even still – I loved magic tricks. When I saw how movies got made – at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.
When I was a kid, going to Universal Studios, which was all I wanted to do, all the time, there was a show that was all the monsters, and I loved that show. I was obsessed with Dracula. I was obsessed with Frankenstein. I was obsessed with the Wolfman.
At Netflix, we realized that we weren’t in business with the Toshibas and the Sonys of the world. We were in business with the guy sitting at home trying to find a DVD to watch. If we had the courage to focus on him, everyone – movie studios, electronics companies, Netflix itself – won.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn’t have the pressure they have if the word wasn’t out about how expensive they were.
I hate studios. A studio is a black hole. I never use a studio to work. It’s very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
I decided that I was going to stop trying to convince older, more established heads of studios or networks to understand me and get me, and focus more on developing relationships with people who already do.
It’s a debilitating process, working with the studios. With the length of time it takes for drafts and development deals, your enthusiasm is gone before you’re ready to make the film.
A creative space is an important thing. There are so many studios that feel like doctor‘s offices in Nashville. I couldn’t write there.
Maybe studios don’t want to see women acting in a way that isn’t womanly. Maybe people don’t.
When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.
I go to studios and dance all the time. And that’s something that will always be instilled in me. That was always my first passion from the time I was 3 years old – dance.
I don’t particularly like recording studios, they tend to be lifeless and without any natural light, so I wanted to record wherever we lived. We just don’t want to be bound to a studio to who we’d have to pay untold sums to.
I was blackballed by the studios when I sued by stepfather.
Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!
You can’t do psychological thrillers. There’s no audience. I’ve heard this. I’ve heard this from studios.
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.
I made my own contacts and I recorded in different studios, and it was something that I did by myself without the assistance and help with my family at first.
Our audience for SCTV was older than today’s moviegoers, and with the cost of making movies being what it is today, it’s hard for the studios to take the kind of risks we took.
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 think, sometimes with fans, what a lot of studios miss is it’s just the gesture: it’s the idea of knowing that they do matter, that we do care about what they think.
During the ’90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.