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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.
Movie studios are owned by giant corporations. They care about money; they don't care about movies.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
Hood films now are made by studios and have nothing to do with the reality they supposedly represent.
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.
In the old days the studios guided your career. Now it's all up to you.
To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
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.
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.
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.
I grew up in dance studios. I was forced to be in several numbers in recitals and dance competitions. I took one tap class - literally one class - and then I quit.
The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.
When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios.
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.
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.
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.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
Because I could dance, my folks went through hell so I could be in movies. But I didn't dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.
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.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
At the major studios, you see people wanting to remake a TV series, wanting to make a sequel.
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.
Martin Luther King, Jr.
Leonardo da Vinci
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Motivation will almost always beat mere talent.
Norman Ralph Augustine
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