Quotes About MGM

I'm a big Broadway fan and a big MGM fan.

I wore so much rubber when I was at MGM, I bumped into the wall once, and I ricocheted.

All the Warner actors were real actors. They started in theater and led very straightforward lives - you never saw entourages around. The MGM girls were the glamour girls, and they always had the makeup and hair people with them and all that.

Personally I like the English style better. It is not quite so brittle, and the people as a rule, just wear clothes and drink drinks. There is more sense of background, as if Cheesecake Manor really existed all around and not just the part the camera sees; there are more long walks over the Downs and the characters don't all try to behave as if they had just been tested by MGM. The English may not always be the best writers in the world, but they are incomparably the best dull writers.

When my mother signed at MGM, that was the only kind of contract you could sign. There was no such thing as an independent agent.

The most likely explanation of Greene's desire to leave MI6 for a less demanding position lies in a scriptwriting contract he signed with MGM on 3 February 1944, providing him with twelve weeks of work in each of two years at the handsome rate of £250 per week.

I was signed to MGM. I was in Vegas for sixteen weeks at the Sands Hotel.

Everything about the studio was enormous. You walked through the gates of iron, and it was palatial looking. The first day, I was introduced to Clark Gable. He said, 'Hello, kid. Welcome to MGM. I'm just leaving.'

In those days, I auditioned for everything MGM made while I was under contract. Not for the roles Elizabeth Taylor eventually got, of course.

From the time I was thirteen, there was a constant struggle between MGM and me - whether or not to eat, how much to eat, what to eat. I remember this more vividly than anything else about my childhood.

Ballet is a closed world and very rigid; MGM was a fairyland. You'd walk down the lot, seeing all these fabulous movies being made with the greatest talent in the world sitting there. It was a dream to walk through that lot.

My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.

Grace was tough and strong—mentally, emotionally and physically—and she cut through a lot of the nonsense. Hollywood was like a game for her. She was also a good businesswoman, and this allowed her to win in her struggles with MGM. She knew how to play the corporate game, and she played it so that it worked for her.

We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.

My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'

I was in a ballet company, and I auditioned for Bob Alton, a top choreographer at MGM. He sent me to see Arthur Freed, who offered me a seven-year contract.

I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.

I came from the theatre, which had given me opportunities in television as well as a film adaptation of my second play 'Daddy's Dyin'... Who's Got The Will?' for MGM.

I gave my eardrums to MGM. And it's true: I really did.

I did a lot of hokey movies when I was starting out at MGM. Good and bad, mostly bad.

So vast is the shadow cast by the MGM production of 'The Wizard of Oz,' so indelible are its characterizations, so perfect its music, and so assured is its cinematic immortality, that most people think of it as 'The Original.' In fact, it isn't.

By the time we got to MGM, and Lions Gate the movie was done there was nothing else to say. It was done. Just as at Universal, it was art by committee.

I don't write lovely music." He was willing, however, to compose the score for the MGM production of The Good Earth. His demands were appropriate but unacceptable. He wanted fifty thousand dollars, and complete control of the soundtrack; the actors were to speak in the same pitch and key he composed in (as if Paul Muni and Luise Rainer didn't have enough difficulty playing Chinese peasants!).

outshines little Elizabeth Taylor as Velvet. The child is completely natural and unaffected, with a very sweet expressive face and the most beautiful soft blue eyes I've seen on the screen in a long time" (quoted in Haggerty, 2011). Taylor remained contracted to MGM for the next