Every studio needs a rubber chicken.
Hopefully, I can play both sides of the fence. That's probably what winning the Oscar gives me, the chance to do something with a studio and do other things that I really want to do.
In the old days the studios guided your career. Now it's all up to you.
I was lazy. I would have been a hell of a lot better actress had I taken it more seriously. I never had the proper respect for acting. Quite often, I learned my lines on the way to the studio.
I laughed from the time I arrived at the studio until I left at night. I was almost ashamed to take a paycheck.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
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.
I can't get hired in a studio movie. Everything is so uphill.
Hollywood studio executives don't recognize the value of female performers as much as male performers.
Studios and networks who ignore either shift - whether the increasing sophistication of storytelling, or the constantly shifting sands of technological advancement - will be left behind.
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.
Unfortunately, the business is such that, as far as studios are concerned, they judge one quote-unquote black movie on how other ‘black’ movies have done, even if they have nothing to do with each other It’s too bad we can’t do well on our own merit when it comes to the studios. They don’t like to take risks and, unfortunately, we’re still considered a huge risk, even though I don’t think we are.
I just do things I really enjoy. I enjoy acting. When I'm driving to the studio, I sing in the car. I love my work and my wife and my kids and my friends. And I think, 'You're a lucky man, Gregory Peck, a damn lucky man.'
I almost feel like its an obligation to not further the status quo if you become somebody with influence and exposure. I dont want to paint the same painting again. I dont want to make the same sculpture again. Why shouldnt a big movie studio be able to make those small independent kinds of pictures? Why not change it up?
I was under contract to Paramount. They wanted to make me into somebody which I was not. So I got so scared and rebelled, so they threw me out of the studio.
I don't think that a company should own a studio and the network, and program for their own network. It hurts the creativity - it is not a level playing field
Working in the studio is a more personal experience whereas on stage in front of a billion people, its more exciting performing live.
I was scared every time I put on a uniform and stepped on the field. I’m scared every day I go into the studio and I come on stage because I fear that I will not live up to what is expected. I fear that somebody who spent a lot of money to come into our studio, to come to New York and they’ll walk away and go, ‘I could have stayed at home.’ I feared that as a player a fan would come to the stands and I wouldn’t perform well. Just the way I’m built. I’m more scared of failure than I am excited about the accolades that come with success.
I was an original member of the Actors' Studio.
Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
I think every cute girl is told to move to L.A. someday. So I do like the drive over from my house to the studio.
I'm portable. I carry a laptop and a little recording studio on my back.
A fitness instructor in Maine has been charged with running a prostitution business out of her Zumba dance studio. Authorities first got suspicious when they saw guys going to work out at a Zumba dance studio.
The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I`d have material in two minutes, because I`d been doing it all my life.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
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