Quotes About Film

I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael's work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.

I've never done a big studio film, I've only ever done little ones.

We've been working with the very best in the business. The studio really just let us alone to make the films.

Charles Laughton, who's a great hero of mine, only ever made one film and it happens to be one of the great films ever, which is 'The Night of the Hunter.' It's full of his kind of imagination and creation and how you do things and just in the way he used the studio, I just thought it was a fantastical way of using the studio.

I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.

A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.

Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.

I acted in theater and I took film classes when I was 12 and just obsessed over it. I loved it and spent hours and hours in the film studio learning and watching.

The reality is that there are so few roles out there for women and for women of color, and I'm a character actor, this I know. And I'm getting to see more of the roles that are out there, but there aren't many. And zilch have been studio movies. Zilch.

There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.

During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.

Not many people get that chance to have multiple studios wanting you to make a movie with them.

The reason there's a 'Hellboy 2' is not because the studios were passionate about the first one; it's because the numbers made sense.

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.

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 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.

I've always said that we must do local cinema but not lose sight of national appeal. That's the way New Theatres, L V Prasad, Gemini Studios operated.

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.

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.

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.

In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.

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

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

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.