Quotes About Film Studios

#1. The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.

Thomas Dolby

#2. I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.

J.G. Ballard

#3. California, that advance post of our civilization, with its huge aircraft factories, TV and film studios, automobile way of life ... its flavourless cosmopolitanism, its charlatan philosophies and religions, its lack of anything old and well-tried rooted in tradition and character.

J.B. Priestley

#4. For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.

Charles Roven

#5. 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.

Griffin Dunne

#6. My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.

Chris Pine

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

Bill Plympton

#8. 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.

Nia Long

#9. I think the executives at the studios today realize that it's easier and safer to go the - to some known territory which is a remake of a successful film. It's less chancy than taking a fresh idea.

Richard D. Zanuck

#10. It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.

Robert Rodriguez

#11. 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.

Wes Craven

#12. When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.

Irwin Winkler

#13. The excitement about independent filmmaking is that they're a little more open to taking chances. The studios are a little more careful, as far as who they choose for their film and what they're known for and staying in the genre because they know what works.

Malin Akerman

#14. His mind wandered, seeking other examples. People - particularly older ones - still spoke of putting film into a camera, or gas into a car. Even the phrase "cutting a tape" was still sometimes heard in recording studios - though that embraced two generations of obsolete technologies.

Arthur C. Clarke

#15. 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

#16. In 1916, Universal Studios released the first filmed adaptation of Jules Verne's novel '20,000 Leagues Under the Sea.' Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies' version bears no resemblance to the book.

Kage Baker

#17. During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.

Allison Anders

#18. The great thing about what we do at DTS, all the studios, but especially DTS, because we're talking about our film, is we swing for the fences. So that being said, we're out to tell the very best story we can with the highest quality that we're able to do.

Klay Hall

#19. There's nothing like a good ol' film light in a fogged up studio.

Harald Zwart

#20. 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

#21. 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.

John Carney

#22. Writing a screen play: One page of an average screen play equals about one minute of screen time. Therefore, the script for a typical feature film should be about 100 pages long. In fact, many studios and producers won't look at screen plays that are much longer.

John Griesemer

#23. 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.

Nicholas Sparks

#24. Most of the projects aren't that interesting anymore. There used to be a day when the studios made amazing films, and they were about human beings.

Ramin Bahrani

#25. Sometimes you can do a TV show on a subject you just can't do in film. Either it's too long or studios will perceive it as not being commercial.

Ridley Scott

#26. 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.

Michael Douglas

#27. More women have to be in charge of studios, so that they can greenlight films with women.

Jennifer Lawrence

#28. It's tough, man. Unless it's a tentpole, sequel, remake, or over-the-top comedy, that's all the studios are even doing. They've kind of admitted they're not in the business of doing anything else. The slightest level of irony or intelligence and, boom, you're out of the league, you're done.

Richard Linklater

#29. 'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'

Gina Prince-Bythewood

#30. The studios are making fewer films. They are making more expensive films. Profits are tougher to come by. Not only because of the expense of production. But also because of the expense of promotion and hype. To boil that all down, it's more about hype than it is about filmmaking.

William Friedkin