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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.
I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.
If studios don't get their money back, we don't have any movies. So it is important that films are successful, and I am fully supportive of that because I'm not just a director, I'm also not stupid. I've been in this business long enough and, to a certain extent, I'm a businessman; I know the importance of that.
The fact is that HBO is doing the kind of films and the kind of stories that the movie industry used to do. You look at a lot of the specialty sections of studios that have gone under... and there's no doubt in my mind why filmmakers and screenwriters and actors are ending up at a place like HBO. They do it better than anybody.
Actors dread working with studios because they dictate what you do in a way that independent movies can't.
The Hollywood structure was monopolistic, run by four or five big studios.
Here's the thing with the business, is that when people like your work, and you make them money, you're set. When the critics like you, and you make the studios money, doors opened.
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.
I think the big studios shaped and formed the artists that they put under contract.
Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.
Producers and studios know what sells. It's nice to be one of the guys that can help sell a movie by taking his shirt off.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I'll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don't understand it. I don't understand the whole testing-numbers thing. It is not how I want to make movies. So if that's how they do it, then I don't think I want to do it.
Studios never put pressure. They know the kind of films I want to make.
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.
I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.
The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.
I would love nothing more than me and my family getting green cards, going to L.A. for a year, sitting down with the big Hollywood studios and coming up with the most advanced and awesome Internet distribution platform for movies. It would make Hollywood more money than cinemas, DVDs, and everything else combined.
The studios don't finance anymore, they get outside funds.
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.
William Arthur Ward
Martin Luther King, Jr.
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