It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.
I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.
I think that probably the - I don't give quotes to studios. They have to get those out of the paper or from television. So they wouldn't have had my quote opening day.
Great songs come out of people's bedrooms; they come out of studios; there's no formula for it.
In the old days the studios guided your career. Now it's all up to you.
I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
Hood films now are made by studios and have nothing to do with the reality they supposedly represent.
Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.
There's a simple arithmetical logic at work. Build more unaffordable and not always architecturally sympathetic apartments, watch the rents rise, the tarts leave, the small shops, production offices and design studios close down, and hey presto, we have another fashionable London suburb indistinguishable from the rest.
I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.
I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.
You have to work to be relevant. If you don't, then people will forget, and the studios won't want you because they won't remember the last thing you did that made money.
Unless any book is selling 30 million copies, like 'Fifty Shades of Grey' did, the big studios are not going to make movies out of them because the cost is too high.
It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.
Nowadays, I really like playing in studios.
But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.
I just hope, every now and then, the studios still slip one of my movies in.
It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.
Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
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.
I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
Relatives cannot help you in the studios. You stand or fall by your own efforts.
I park two blocks away from Nickelodeon studios and I hop on my skateboard and I skateboard the rest of the way to the studio.
The studios are very much business. Maybe it was always that way. It is really commercial now. Judgments are made and directions are given to make the cash register ring.
I am currently talking to one of the studios about making American Star as a TV series.
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.
I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.
When I was looking for financing while making 'Hellraiser,' I wish there was a studio like Project Greenlight Digital Studios behind me.
I mean, there are some amazing storytelling being done on the small screen right now. That's what so cool about being in television right now. Studios, networks are starting to throw more resources, better writers, more production values... and to be part of that is awesome.
I remember wearing overcoats, hiding in the bushes outside of Abbey Road Studios, waiting for the traffic to clear. As it did, we would drop our overcoats and run out on to the cross walk and strike our poses.
I'm not saying that the action/science-fiction genre is bad in itself. I make those films. I'm just saying that the studios have put all their cards on black.
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.
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.
The company, Tiffany Studios, ended up in bankruptcy in 1930 - early '30s.
I do this weird thing in studios where I climb stuff when I get nervous.
