It's a very sobering feeling to be up in space and realize that one's safety factor was determined by the lowest bidder on a government contract.
I have one very bad experience with a U.K. publisher, who gave it out to be understood that she wanted to publish my book and made me do a lot of changes, all outside a contract, only to reject it in the end.
It took a long time to get out of my contract. The producers thought I was negotiating for more money.
In the contract days, the big studios groomed us to play particular roles and we would stay with the image they gave us and insisted on.
That's a powerful lucky rabbit's foot. I got the part in Gone With the Wind because of it. I got my Warner contract, thanks to it.
And that was what I was asking to happen and I was told that the indictment would be signed, but I was coming to the end of my one-year contract, I had to return to New Zealand for personal reasons.
I had been offered a Hollywood contract before my 18th birthday. It gave me the spark I needed.
When I review my contract, it is to make sure that I am not going to get in trouble or not paid. Then afterward, people say, 'Did you make sure they gave you a green room,' and I'm like, 'No, I didn't get any of the cool stuff.'
Early on, they were timing my contract with an egg timer.
So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.
Never contract friendship with a man that is not better than thyself.
If your goal is to be the biggest movie star in the world, a 10-movie contract is gold. It was never my goal. Up until now, I made movies - and I have a nice house, a nice car. I'm fortunate, happy and grateful. Life is good.
Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.
If you sit down with me, I guarantee I will accept any terms you offer for a contract.
I was put under contract. A major studio. I got nominated for an Academy Award. Isn't that ridiculous? I mean, at the age of 18!
I was the only person at Univision who had complete creative control of my own show, by contract. They didn't like that. I was the executive producer; I owned the studio where we taped. I decided who went on my show and who didn't.
Any time you sign a big contract, you get in those later years, the expectations are high to play at a high level.
It's a pretty sure thing that the player's bat is what speaks loudest when it's contract time, but there are moments when the glove has the last word.
First of all: no one in their right mind would sign an exclusive contract.
Never before had I been offered a contract and advance before a word had been written... I went home and began writing 'Julie of the Wolves.'
I believe a lot of players that start to think about money - 'Oh my goodness; I'm up for a new contract' - they don't have a great season because they're thinking about all these different things. Do your business on the field, and everything takes care of itself.
Saudi Arabia has stability. The social contract and the political contract between the king and the rulers and the royal family and the ruled people in Saudi Arabia is very strong and the bondage is so solid.
I've never believed in tying myself up in a long-range contract, and I've been very outspoken on that subject.
The owners said that they wanted the salary cap and refused to promise that they would abide by the rules of the just-expired contract after the season ended. Believing we had no choice, the players went on strike in August of 1994.
And my rookie contract, my first rookie contract was for $5,000.
The primary social contract between the people of the United States and their government - quaint though it might seem to even mention it at this point - is that ours is to be a government 'of the people, by the people, for the people.'
Writing on a contract for a major studio you get the very best.
If getting a contract was relatively straightforward, writing fiction was far harder than I could have imagined, and there were moments during the long and torturous edit process when it seemed that 'Zulu Hart,' the first of the trilogy, would never be fit for public consumption.
When it became clear that I wasn't going to have the opportunity to do any work on VR while at id software, I decided to not renew my contract.
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.
The rolling contract was designed to specifically take away some of that retirement talk and retirement issue.
I was doing acting work at Fox - bit pieces with Greg Peck in The Gunfighter and things like that - and grew up more or less as a Fox contract player in about two years.
I signed a contract to fight at UFC 187, so I'm going to fight at UFC 187, whoever it is against. It's the same thing.
I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.
A verbal contract isn't worth the paper it's written on.
Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.
