Quotes About Studios

Here's what's really bad about those shows: They reduce every issue or event to a debate. And this approach spills out of the TV studios and into our lives. We become all about "taking a side" and arguing it fiercely. We then look for facts to fit our assumptions. And we learn to distrust everything that doesn't fit our version of reality.

Studios! You can't make picture with 'em, you can't make pictures without 'em.

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.

I was the first woman in WWE to ever be in a WWE Studios movie and was honored to be trusted with such an opportunity.

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.

Producers and studios have produced a mixed bunch of genres. I am a producer who happens to be an author and a publisher so I produce and publish in multiple genres.

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.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

Lucas recalled. "I went for the merchandising because it was one of the few things left that we hadn't discussed."60 But Lucas also shrewdly recognized that Fox and other studios had underestimated—and, in many cases, wasted—merchandising opportunities to market their films. "We

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

There's an anxiety of wanting to please the studios. You want to prove to them that you can do it and sometimes you might jump at a project that you're not totally passionate about.

With 'Soul' I was just here in Aotearoa, New Zealand the whole time so I never got to go to the studios.

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.

There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.

Mail is processed. It arrives at Paramount Studios! It's sorted, and a pile is brought to the production offices for each of the TV shows shot there. That mail is sorted so that each actor gets his letters. A pile is placed in his dressing room.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

The major studios are by and large banks, and they give you what is by and large a loan to make a movie. Like banks, they want their money back plus.

Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.

The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.

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.

The old studios that mass-produced dreams are gone with the wind, just like the old downtown theaters that were the temples of the dreams.

Nevertheless, in spite of all these professional grudges, artists are conscious of a social warmth from each other's presence and contiguity. They shiver at the remembrance of their lonely studios in the unsympathizing cities of their native land. For the sake of such brotherhood as they can find, more than for any good that they get from galleries, they linger year after year in Italy, while their originality dies out of them, or is polished away as a barbarism.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios.

I think ultimately audience members like to see someone controlling the quality of a film. A lot of films you see are made by committees and studios and producers.