Quotes About Warner Brothers

All my stories are cinematic. The Illustrated Man over at Warner Brothers a couple of years ago (1969) didn't work because they didn't read the short stories. I may be the most cinematic novelist in the country today. All of my short stories can be shot right off the page. Each paragraph is a shot.

If you are going to describe the history of animation, you'd look at the early Disney work, then 'Bugs Bunny,' 'Road Runner' and other Warner Brothers theatrical productions. But when you got to 'Rocky and Bullwinkle,' you'd see they were unique: They assumed you had a brain in your head.

Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig. To me, he's a great actor.

I love the Warner Brothers lot. There is so much history there. They've done such a smart thing. They have signs outside of each stage which tell you what movies and TV shows were shot inside. So cool... you can almost feel the ghosts of actors past.

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.

Finding original source material is not easy, but when something special like 'Edge of Tomorrow' comes along, everybody recognized it. I wasn't swimming against the stream. Warner Brothers immediately supported it, Tom Cruise signed on instantly; Emily Blunt, who was our first choice, signed on immediately.

The parallel we like to make.... is the idea of becoming the next Warner Brothers, which is a company that creates the content, but they also produce the content. They also distribute; they also market. So we say that because Fine Bros. and Warner Brothers is fun to say.

I wrote a draft of 'Playboy' for Warner Brothers, and it was impossible to really be independent of Hugh Hefner. In the end, Hugh Hefner was unable to take the back seat required to be able to write something about him that I felt I could do.

I bumped into Mike Epps in a barber shop. I was in the Warner Brothers studios trying to find my way for an audition and director Jordan Peele was just standing talking in a corner, so I had to introduce myself.

I had a traditional interview based on a phone call from an agent. He says there's a show and they would like to see you and its called Dallas. With very little knowledge I go over to this meeting at Warner Brothers.

I've had the luxury of working on a lot of our great brands here at Warner Brothers, including a lot of the DC ones. I've also worked on a lot of great brands that were not DC.

The reality is that every movie is a new business. Nobody says, 'Hey, let's go down to the Pantages Theater, I hear a Warner Brothers picture is playing there.' Or, 'Let's go to this theater, I hear the film came in on budget.' It'd be ridiculous.

I did an adaptation for a movie called 'The Devil in the White City' by Erik Larson for Warner Brothers. I love that book.

When I was getting started, I was so busy just fighting my way through, and I was under contract at Warner Brothers. I did 40 hours of color television with the late Robert Taylor as a young cop.

I had a traditional interview based on a phone call from an agent. He says there's a show and they would like to see you and its called Dallas. With very little knowledge I go over to this meeting at Warner Brothers.