Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'
I was recently realizing that I've probably spent 80 percent of my life in studios! It's very difficult to do that and still have a private life; it's very difficult to do anything else.
Some prescient American collectors, including Vicki and Kent Logan and Mera and Donald Rubell, began collecting Chinese art before 2000 with a genuine passion, but as the auction prices exploded everyone was beating a path to the galleries and artist studios in China. It became the 'China thing.'
Actually, my true name is Rosa Dolores Alverio. And then I became Rosita Moreno when a stepfather stepped in. And when I got to MGM studios, which was my first film contract, they just thought that Rosita wasn't a good name, and they changed it to Rita. And yes, it was their idea.
I grew up in Burbank - but not the Burbank of valet parking and TV studios. In the late 1950s, there was a small apartment complex on Elmwood Avenue that rented mostly to families on welfare. I lived there from age 3 to 11 and again from 14 to 18 with my mother, Shirley, and my younger sister, Toni.
I was offered, within one year, three different witch roles. It was almost like the world was saying - or the studios were saying - 'We don't know what to do with you.'
Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.
Hollywood, for me, is the studios. It's a way to produce. It's a different way to make movies, and I never took part in that.
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
In my day, the only people who achieved real independence were my father, Mary Pickford and Charles Chaplin, who, with D. W. Griffith, formed United Artists. Other than that, everybody belonged to the big studios. They had no say in their own careers.
Originally, I was set on going to Hawaii Pacific University. We visited the campus in Hawaii. I was gonna be a Rainbow Warrior. I was gonna play softball. I was gonna major in marine biology. Everything was set. Then my dad was like, 'So you're not gonna do music? If you do go to Hawaii, there's no studios there, baby girl.'
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.
From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.
Studios might not be able to figure out my leanings, but anyone who visits my blog or reads my Twitter feed or meets me in person will realize right away that I am a huge superhero fan and a fanatic about Superman in particular.
When you think about brands and movie studios and everybody who is trying to reach millennials, having a captive audience in the back of Lyft or an Uber is a pretty great place.
I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.
At the major studios, you see people wanting to remake a TV series, wanting to make a sequel.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
The woeful tales of 'Super Mario Bros.' and 'Street Fighter' have taught studios that merely slapping a name to a movie is not enough to bring in the fans of the franchise. Also, the way games now unfold their stories more parallels that of a movie, with characters and plot points actually meaning as much as a high score.
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.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
I had a hard time treating my field as if it's horse racing, putting actors in competition against each other. I see how the industry and the studios feel it's important, but I don't really have a feeling for being in competition. I want to feel sympathetic and close to others, not opposed to them.
