Top 91 Movie Studio Quotes
#1. If you think of movie studio executives, say, as society, then I root for the independent producers.
Donald E. Westlake
#2. Friends give me a hard time about the pants I'm wearing, which are made in China. Well, how do you find the right clothes? Or the right movie studio? The right people giving you checks? Good luck doing the right thing all the time.
Adam McKay
#3. There was this billy goat at a movie studio who found and ate a can of film. When a nanny asked him how he liked it, he said, "It was all right but I liked the book better."
Johnny Carson
#4. I'm very committed to and interested in CNN's journalism and our magazines and our movie studio, not just HBO, where I grew up. But I do have a fondness for subscription television.
Jeffrey Bewkes
#5. On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
Spike Jonze
#6. Bantam Press. And they commissioned me to write it. And when that was completed, they sold it to Harper and Row. And then I put it out to every movie studio in town. And they all turned it down.
William Peter Blatty
#7. I want to be with the man who wants to open a movie studio with me and make films for new, fresh filmmakers who aren't getting a chance somewhere else. I haven't yet had that type of partnership in a romantic relationship.
Drew Barrymore
#8. JK Rowling combines the ideas and imagination of an entire Hollywood movie studio with the precise execution of an extremely efficient dictator.
Stephen Prosapio
#9. My dream as a teenager was to run a movie studio, as in the old studio system.
Robert Greenblatt
#11. A movie studio is the best toy a boy ever had.
Orson Welles
#12. Pixar is the first studio that is a movie star.
Roger Ebert
#13. It's the formulaic studio movies the make money, and when they do, the actors in them are automatically movie stars.
Mickey Rourke
#14. Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.
Jason Blum
#15. I think 3D is a great innovation for the film business. But I hope it's not the thing that kills the golden egg because what's happening now is every movie there's pressure from the studio to turn it into a 3D movie.
Neal H. Moritz
#16. In the horror genre, unfortunately you sometimes have the studio tell you, "No, go with more unknown people because it's a scary movie," and I disagree.
Alexandre Aja
#18. I could never be a movie star and get up at 7:30 to be at someone else's studio.
Robbie Robertson
#19. The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
Zack Snyder
#20. 'Chronicle 2' has become this question of, 'How do we all make a movie that we all respect?' And that's true to what 'Chronicle' is. There's no one at the studio who wants to make a bad movie. They all want to make a good movie just as much as I do.
Max Landis
#21. Everything about it worked, and I don't mean just the movie, but in our experience, we realized there's also a component of luck involved in this business. We had absolutely the most competent people in the studio working on the release and ad campaign.
David Zucker
#22. I want to write a studio movie, but probably one that's for me to be in.
Jenny Slate
#23. When a movie is being rolled out, the studio publicists and all our individual publicists get together and come up with bullet points and talking points - 'Make sure you stay away from this,' and 'Don't say that quite that way, because that quote can be taken out of context,' and that kind of thing.
Aaron Sorkin
#24. Well, once I did 'Grease,' everyone was offering me studio pictures in a similar vein - you know, popcorn movie.
Randal Kleiser
#25. When a movie is about to come out on its initial debut, there are a lot of people involved - the financiers, the studio and the producers and also, many times, the foreign distributors. So it is a time of tremendous pressure and uncertainty.
Francis Ford Coppola
#26. 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.
Rob Reiner
#27. The difficulty of getting a movie made through a major studio is so extreme that when a movie comes out, everyone should give it four stars because it was accomplished.
John Mulaney
#28. Money's not important to me. Movie star acknowledgement is not important to me. I don't want to be a big studio actress. I don't want to be in the limelight.
Moira Kelly
#29. People will continue to make movies. But I do think the economic model of the studio movie is closing in on a kind of systemic collapse.
Matthew Specktor
#30. I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.
Harmony Korine
#31. If a star or studio chief or any other great movie personages find themselves sitting among a lot of nobodies, they get frightened - as if somebody was trying to demote them.
Marilyn Monroe
#32. I love going to work, doing acting. I love when I'm done with a movie or a TV show. I love hitting the road or being in the studio or going on tour. That's what I get off on. I don't need to have my business in the press and all that stuff. I'm pretty low key. It's all about the work for me.
Bryan Greenberg
#33. If film critics could destroy a movie, Michael Bay and Adam Sandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town.
Alonso Duralde
#34. Before any movie of yours gets made, it will be vetted by the studio's marketing department. So, you do have to answer the question: Who is your movie for?
Thomas Lennon
#35. All of my books have the potential to become movies, it's just a question of finding a studio who wants to get behind me and put up the money to make the movie.
Jackie Collins
#36. I would love to do a big studio movie, just because they're going to put the money into distributing it. A lot of times you do these little movies, you love them and they never get seen by anyone.
Gina Gershon
#37. One day it was that I wanted to go make a movie with my kid and then another day it was that I wanted to climb Mt. Kilimanjaro and another day it was that I wanted to sit in the studio and figure something out. All those things manifested themselves into what the TV show was.
Casey Neistat
#38. A lot of the reason the Universal version of 'Heights' went away is that they were afraid they didn't have a big enough Latino star to bankroll this movie. The people I dealt with at the studio who wanted to make this movie were very passionate about it.
Lin-Manuel Miranda
#39. It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down.
Madeleine Stowe
#40. I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
Carla Gugino
#41. I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
John Williams
#42. The fans of 'Speed' are very different from the fans of 'To Wong Foo,' which are different from 'Donnie Darko.' Look at the classics I've been in: 'No Country for Old Men' ... 'Little Miss Sunshine' ... 'Rain Man' was my first big studio movie! How lucky is that?
Beth Grant
#43. I had this vision of shooting a great white in the studio with all the edge lights I use for movie posters. I knew that I couldn't bring the great white to the studio, so I had to bring the studio to the great white.
Michael Muller
#44. A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
Michael Angarano
#45. You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
Anne Hathaway
#46. Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
Lynda Obst
#47. Sometimes in the studio movies I've been working in, you'll put a joke in a movie because the crowd loves it - not because I love it.
David Gordon Green
#48. The good thing about the studio is that, when the movie comes out, they will put their marketing and their money behind it, which isn't necessarily true with indie movies, just by the nature of it being an independent film.
Jamie Linden
#49. Hollywood wouldn't suit me. In L.A. it's all about work - studio people have their five minutes with you and they go, 'Oh mah Gahd, I love your movie.' You just feel very self-conscious there.
Eva Green
#50. I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since Rocky.
Chazz Palminteri
#51. Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.
John Logan
#52. The average development time for a Hollywood movie is nine years. Nine years for a studio film. And a lot of what you do is abstract.
Stephen Gaghan
#53. I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.
Louis Leterrier
#54. I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
Nina Jacobson
#55. When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.
Dean Devlin
#56. I think one of the biggest things is the budget.For a studio, becomes a very big challenge to make sure that movie will work even better on every level. As an actor I don't think in those terms when I make a movie.
Famke Janssen
#57. Yeah, it was always a low-budget passion project. It's my directing debut. I've always wanted to make an improv movie because I have so much experience in it, but it's not a big studio movie. It was an experiment that turned out better than I thought.
Matt Walsh
#58. I think it's the director's prerogative, not the studio's, to go back and reinvent a movie.
Oscar Isaac
#59. Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
Harold Ramis
#60. How many mothers have emerged from a family trip to a Disney movie and been obliged to explain the facts of death to their sobbing young? A conservative estimate: the tens of millions, since the studio's first animated feature, 'Snow White and the Seven Dwarfs' premiered in 1937.
Richard Corliss
#61. Whether a studio partner is 50/50 with us, or we do 100%, or we do 75% or 90% and for the most part they just distribute, whether that's Warner Brothers or now Universal, it's always a unique situation. Every movie is almost like a start up company.
Thomas Tull
#62. 'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
Ginger Rogers
#63. I've never done a studio movie, let alone worked for a network. Every one of my films has been independently financed.
Lee Daniels
#64. I've always been blessed with confidence. I am a glass-half-full person. My first movie, 'Private Benjamin,' got turned down by every studio until the very last one, but I just kept thinking, 'Why are you people not seeing that this is a hit movie? What is wrong with you?'
Nancy Meyers
#65. 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.
Dean Devlin
#66. 'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
P. J. Soles
#67. I thought I was attractive when I shot 'My Big Fat Greek Wedding.' Studio executives and movie reviewers let me know I had a confidence in my looks that was not shared by them.
Nia Vardalos
#68. No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
Anthony Minghella
#69. I'm not some movie star relying on a studio. I have my own fans and I earned them.
Tucker Max
#70. It's depend of the communication, I think it's very important to let the director make his own vision of the character, not making a studio movie. Look the Dark Knight it's totally the vision of Nolan.
Xavier Gens
#71. You know, they just don't make big movie stars the way they used to, maybe because the system has changed, the studio system, but it's sad to see people like Jimmy Stewart go, all the giants of the past.
Tom Atkins
#72. Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
Robert Rodriguez
#73. There's a lot of different parts to me, so it makes total sense to me that I would do a big TV show or studio movie and then do a free comedy show the next day. They both feel equally important to me.
Jenny Slate
#74. I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
Steve Erickson
#75. I thought it would be a lot of fun and I wasn't going to do the movie without Johnny. The studio suggested a couple people, and I'd never met Johnny, but I thought we'd be a perfect team for this movie because we're both a little bit unpredictable.
Sean William Scott
#76. I'm willing to give up a little control but not a lot. So I say I want the money, but when push comes to shove, I'm not sure I'll be able to compromise in order to make the big studio movie. Maybe something in between would be okay, like a low-budget studio film.
Nicole Holofcener
#77. I can't get hired in a studio movie. Everything is so uphill.
Kyra Sedgwick
#78. When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
Thomas Lennon
#79. Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
Todd Solondz
#80. That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.
Robbie Coltrane
#81. If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.
Anita Elberse
#82. It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.
Kristen Stewart
#83. If I am writing a movie and I am stuck, I can call the studio and tell them it's delayed. You can't do that with television - you have air dates to meet.
Aaron Sorkin
#84. I created a show called 'Crash' for Starz, which was their first original drama, and that was not a good experience. I had a great time working with the cast and crew, but it was a young network and an intrusive studio, and to be honest I didn't really enjoy the movie 'Crash.'
Glen Mazzara
#85. 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.'
Robert Osborne
#86. I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
John Polson
#87. Every Vacation movie didn't just make the studio money. They each made the studio a lot of money.
Chevy Chase
#88. With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal.
Robert Gottlieb
#89. One of the things you have to understand with The Room, I never approached a studio to produce, because I know no one in Hollywood will produce this. I came to Hollywood and I said "I will produce this movie the way I want it."
Tommy Wiseau
#90. Even the shows or movies that we know are not going to change the world, I love this. I love 'em. I'm a movie fan. I'm a nerd of any kind. I love a big studio comedy as much as I love the teeniest tiniest of indie. I'm not a snob in that way. I really do like a big, big studio comedy.
Kathryn Hahn
#91. I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
Michael Keaton
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