Top 222 Studios Quotes

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.

Big-time directors and the studios that bankroll them prefer to dwell in the comfortable, familiar center, where mammon is God and the only divine word comes from focus groups.

Major motion picture studios spend hundreds of millions of dollars trying to capture some of whatever it is that makes our little ‘Sharknado’ movie globally popular.

I used almost every penny I ever made to build recording studios in every city I lived in. I don’t have much to show for all the TV money except a lot of musical gear and a lot of songs.

Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there’s a handful now.

The biggest obstacle when I was younger was geographical. I was living in Blackburn and the ITV and BBC studios were in London, and I thought: ‘How do I get there? I need to be there.’

My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.

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

I’ve never encountered homophobia in casting from the studios or networks – not once, not ever. Where you encounter it is with the agents and the managers, they’re the ones who have an outdated notion of the price an actor might pay if it’s discovered that they’re LGBTQ.

I’ve really pushed the limits of what you can get away with at big studios, and I’ve been extremely well-supported.

I hate the idea of people thinking that I’m just a little girl who goes into studios with pop producers, and they work their magic.

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.

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.

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

We don’t program movies. We don’t run studios. We make movies.

It’s becoming much more common to see yoga studios offer classes aimed exclusively at people of color who are searching for ways to cope with racism and fears around police brutality.

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.

It’s very difficult to break into motion pictures, but it’s oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

I decided to remake ‘Sairat’ and contacted Nitin Keni of Zee Studios with a plan to remake the movie in all south Indian languages.

We’d go to studios with ideas to do movie musicals and they’d literally kick us out. They said, ‘Audiences aren’t interested in movie musicals. You’re wasting our time.’

The studios aren’t lining up to make films about black protagonists, black people being autonomous and independent.

I don’t understand why there aren’t more powerful female directors. I don’t have the answers, but I hope that things may start to shift and that studios will employ more women to handle strong and interesting material.

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.

Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That’s bad for consumers, that’s bad for studios, and ultimately, I think it will be bad for theaters.

As a teenager I had friends who had little music studios in their bedrooms and garages. I’d go and play around; very soon, my hobby became a passion.

To be quite honest, I’ve been very blessed when I’ve worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.

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.

I was recently realizing that I’ve probably spent 80 percent of my life in studios! It’s very difficult to do that and still have a private life; it’s very difficult to do anything else.

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.

I remember showing Prince around Warners’ recording studios. He was the nicest kid.

More than any other president, save perhaps John F Kennedy, whose father ran a film studio, and Ronald Reagan, a leading man and governor of California, Trump is on a buddy basis with media moguls, a speed dialer with the heads of studios and media conglomerates.

‘Milk‘ had to be a financial success, following the success of ‘Brokeback Mountain.’ It had to make money so studios would develop other LGBT projects.

Studios always seem to be in basements without natural light and with black everything.

I knew Chester. I’ve known Chester since 2001. I was in a band called Dry Cell, and we were signed by the same guy that signed Linkin Park, so that’s how I knew him. He would come to some of our writing sessions and rehearsals; I’d see him in the studios that we were at.

I just wish one of the big American studios had bought ‘Devdas.’ They would have pitched the film for the Oscars in a big way, like Miramax did with the Chinese film ‘Hero.’

My holidays in Hyderabad would be spent on films sets visiting my father and uncle, or in the studios; I was gradually drawn to films.

I’ve not really spent much time in proper studios. The room itself where you’re recording, and how you live while you’re there is what appeals to me.

In my day, the only people who achieved real independence were my father, Mary Pickford and Charles Chaplin, who, with D. W. Griffith, formed United Artists. Other than that, everybody belonged to the big studios. They had no say in their own careers.

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.

Basically, the big studios and companies distributing your movie just take a big cut of profit for making posters.

You’re fighting a losing battle if you expect the people who own the studios to make moral choices.

We have the word ‘Mc’ attached to so many things now, like ‘McMansions.’ It’s become part of our vernacular as something on steroids almost, just bigger and bigger. I think, to a degree, studios have fallen prey to that as well.

The supposedly petty sexual harassment that so many women have to endure, from Hollywood studios to the factory floor at Ford, is a national outrage that needs to end. Period.

I’m doing a play at Trafalgar Studios with The Jamie Lloyd Company – ‘The Maids‘ by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It’s one of my favourite plays by one of my favourite playwrights.

I’ll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don’t understand it. I don’t understand the whole testing-numbers thing. It is not how I want to make movies. So if that’s how they do it, then I don’t think I want to do it.

I grew up in television studios watching Mum and Dad do ‘This Morning’ and other stuff, and I’m just like lots of people, I’m following in their parents‘ footsteps.

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.

Great songs come out of people’s bedrooms; they come out of studios; there’s no formula for it.

Television studios bet the farm on reality shows, where they didn’t need any actors and movie studios had no plans for any quality movies that required the presence of me.

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.

Thank you to Dr. Dre, Ice Cube, Universal Studios, and the Grammys for telling the story of what Compton was and is becoming.

I remember wearing overcoats, hiding in the bushes outside of Abbey Road Studios, waiting for the traffic to clear. As it did, we would drop our overcoats and run out on to the cross walk and strike our poses.

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.

We were shooting for ‘Aiyyaa’ in Yash Raj studios, and I got an offer for ‘Aurangzeb.’ That’s the only time I went for an audition.

Here’s the thing with the business, is that when people like your work, and you make them money, you’re set. When the critics like you, and you make the studios money, doors opened.

Hollywood in the 1930s is an incredible period of history. There are so many amazing stories about the stars and the studios at that time that you can’t fit into one film.

I really only worked for about a month on ‘Meatballs.’ What happened was that Ivan Reitman figured out that studios wanted to meet everybody involved with ‘Animal House’ except the producer. So he thought he’d better start directing.

Relatives cannot help you in the studios. You stand or fall by your own efforts.

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.

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.

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

The studios always had their idea of what I was, and they’d give me the dumb-blonde roles.

My movies are not messed with by the studios.

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

When I was filming ‘Premium Rush‘ in N.Y.C., I flew to L.A. to have a few general meetings. I sat down with Peter Cramer at Universal Studios and spoke about my life and career, and being that I’m such a goof, we spoke about how I really wanted to do a comedy next.

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.

When you’re not in studios, you don’t have any luxuries; you can’t control the elements, so you have to put up with those extremes.

I went to NYU thinking I was going to make a ‘Die Hard‘ sequel, or maybe action and genre films for the studios, but I ended up falling in love with personal cinema.

Abbey Road was actually one of the first studios I ever got the chance to go to. A friend of mine won a competition and got the chance to spend a day recording there – that’s when I was around 15 – and I was the only one who could engineer out of all of us.

The beating heart of your story… that’s not what shows up in a trailer. The other stuff is what shows up in a trailer, because that’s what gets people in to the seats, and that’s how studios make their money.

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.

I’ve got the best of all worlds. It’s every actor’s dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work.

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.

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

I signed with Columbia for two reasons. One reason I saw two of Frank Capra s pictures in Paris, and I want to work with him. Then at Columbia, in Harry Cohn, there is only one judge to please. I could not face the juries of fourteen that I have heard about at so many large studios.

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.

When I first started in the business, it was hardly ever done. But today, it almost feels like studios go out and preview movies knowing full well that they’re going to use the information they get to go back and reshoot.

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.

When you think about brands and movie studios and everybody who is trying to reach millennials, having a captive audience in the back of Lyft or an Uber is a pretty great place.

I’ve never had an issue with studios. I believe in them as true creative partners in the process.

When I was working actively, I used to be in the studios for 12 hours. I didn’t have any time for my family.

When I have time off, my friends and I will go to Universal Studios, the movies, out to eat, and shopping. I’m happiest when I’m just hanging out with my friends… it really doesn’t matter what we do.

It’s true; I have a skill and it’s… it has not related to acting, it’s not related to auditions, it’s not related to studios, not related to public whim. It’s whether I’m funny or not and whether I can entertain people.

Some prescient American collectors, including Vicki and Kent Logan and Mera and Donald Rubell, began collecting Chinese art before 2000 with a genuine passion, but as the auction prices exploded everyone was beating a path to the galleries and artist studios in China. It became the ‘China thing.’

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.

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.

I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.

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.

I don’t think money can help you become a better painter, for sure. You can have all the studios you want; it won’t help you make a better painting.

It’s just hard. I wish the studios felt there was more value in these themes and these pieces of material – that they’re worth protecting more. Because then it just wouldn’t happen. If the studios cared, the stuff would be stopped in a second.

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.

Mother was so good that I was defeated even before I started to be an actress. I thought I could never make it unless I spent years in the Actors Studios, went on the blacklist and lived in New York, as she did.

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.

In the old days the studios guided your career. Now it’s all up to you.

During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.

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.

A lot of rappers think they better than me because they saw me broke, going in and out of studios, and couldn’t pay for studio time.

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 think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.

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.

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

Sun Studios was where so much of American music exploded from.

Pieces of April‘ was going to be a 3 to 7 million dollar film and we had three entities, two studios, and one wealthy man and they all backed out. It was quite a blow.

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.

I’ve been hanging around movie sets and recording studios since I can remember.

I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.

We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.

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.

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.

The studios gotta start making more stuff where black folks get quality stuff. But I can’t trip about that because I’ve been making movies for 35 years, and I’ve played everything from an old lady to a donkey, so I can’t be on here talking about, ‘They don’t give us enough roles’ and diversity.

Nowadays, I really like playing in studios.

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.

I think with the success of, like, every summer there has been a couple R-rated comedies that have done so well; I think it is so nice to see that people are turning out to see these movies, and it doesn’t seem to be as big a stigma with the studios anymore.

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.

Bollywood has a pretty chilled out approach. For instance, we don’t wear shoes inside the studio. There is a strict behavioural protocol to be followed in the regional studios, while here in Bollywood, it is more informal.

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.

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 would walk down the street and people would scream from their cars at me and, generally, I’d turn around and it’s a 13-year-old girl. And it’s funny because that is the audience that I think big studios are always trying to target.

Without Jupiter cleaning out the early solar system, the Earth would be pock-marked with meteor collisions. We would suffer from asteroid impacts every day. CNN studios would probably be a gigantic crater it if wasn’t for Jupiter.

I don’t think I’ll ever be a producer who’s into taking the meetings and fighting the big fights with studios. I really don’t like that part. I’m much more interested in the material.

You could cast nearly any movie in Brooklyn, and now you can film in Brooklyn – for you have studios.

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

Studios are passe for me. I’d rather play in a garage, in a truck, or a rehearsal hall, a club, or a basement.

Because I could dance, my folks went through hell so I could be in movies. But I didn’t dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.

If you look at successful studios, they’re the ones with stabilized management.

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.

What happened when ‘Sweetback’ made all that money, the studios were in a very difficult position. They wanted the money, but they didn’t the message. This marked the advent of the caricatures which became known as blaxploitation.

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 get the music, I get the beats. And I go to the studios and write the lyrics.

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 was a little girl, I watched old movies maybe shot at Paramount Studios, and the fact that every day I get to drive onto the lot and shoot a show that sometimes takes place in the ’40s, it’s very interesting.

When I see a lot of the big Hollywood movies, I see they are all financed by Indian studios.

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

The average movie-goer in this country sees six films in a year. That’s one every two months. What the studios are trying to do is make sure it’s their movie.

We don’t curse at Shots Studios, and we send a very positive message.

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.

I’d wake up at 4 A.M. every day, and reach the studios on the dot at 9.

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 was offered, within one year, three different witch roles. It was almost like the world was saying – or the studios were saying – ‘We don’t know what to do with you.’

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.

There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren’t taking the time and spending the money to do it right. I am.

Don’t forget, I’ve been fired by studios; I’m not the studio’s guy. I’m a guy who can work with studios, but if you ask any studio, I stand up to these people.

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

Getting a movie made is a miracle… because the studios are only interested in making ‘The Avengers.’

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

There’s a lack of tremendous pressure in the Disney studios. It’s a pleasant place to be.

Studios are like hospitals. A lot of people check in, and they don’t check out.

Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.

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.

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.

Sometimes you can do a TV show on a subject you just can’t do in film. Either it’s too long or studios will perceive it as not being commercial.

When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios.

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.

There are studios out there and we have met them who take the movie away from the filmmaker and don’t want them to have input. But that’s not with Marvel.

Let me tell you, there’s nothing like pulling up to Fox Studios bumping Jeezy in your Mercedes.

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.

I loved all those classic figures from the ’30s and ’40s… Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too – so much attention paid to details, lights, clothing, the way the studios would develop talent.

I didn’t really realize I was a woman director until I walked onto the set at Pinewood Studios when I did ‘Mamma Mia!’ and everybody was calling each other ‘Governor’ and ‘Sir‘… and then, looking at me, ‘Well… good morning!’

I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I’d got the part! It just shows dreams do come true.

When studios start telling me why a particular film project won’t work, I remember ‘Rocky.’ I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.

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.

My family took a vacation to Universal Studios when I was really young. Me and my brother Richard – who’s also an actor – were both really intrigued by seeing the behind-the-scenes stuff of how films are made. We kind of begged our parents to get into acting.

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.

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.

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.

Yet, that’s what studios do. If one thing works, they’ll keep doing it till it runs its course and people aren’t interested anymore.

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.