For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.
My goal was always to get better roles, and in my case, performing on stage really led to great opportunities. My breakthrough came when I did Calder Willingham's 'End as a Man' on stage and was spotted by Max Arnow, who'd been the casting chief for Columbia.
It's a dream for a director, at least to try a studio movie.
Sammy Davis Jr. was a real movie buff who loved nothing better than being around a film studio - whether he was working or not.
You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'
Honestly, I feel like I am a leading man, and it's just going to take the right project, the female and the right studio. It's got to all gel together, you know what I mean?
The only home I had was with Warner Bros. during the '90s. I made four movies with them then. Natural Born Killers, JFK, Heaven and Earth. Any Given Sunday was the last. And that was the end of the Terry Semel/Bob Daly regime.
I hope to build not the largest film and media studio in the world, but perhaps one of the coolest and also the most inclusive.
When you go to a studio with something you want to make, or they come to you with something they want to make, more often than not, it's a tent pole. Not something one single person is really passionate about on a creative level.
I was born at the age of twelve on a Metro-Goldwyn-Mayer lot.
I've been making the best movies at Elegant Angel since Tom Byron left.
Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
My first cut that I showed the studio was probably 2hrs 20min.
I missed so much of the Swinging Sixties by working. From 1961 to 1969, I got up at 4.30 A.M., a car came for me at 5.30 A.M., and I was taken to our studio at Teddington or Elstree, and we filmed until I got home at 9.30 P.M., five days a week.
I don't know much about making films or TV programs, but what's cool about being in the studio is that you have more time.
The studio can be quite tedious.
Once Miramax gets involved, if they like your movie, there's a big machine that gets involved.
Warner Bros. is just this amazing historic studio that does great movies.
At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.
I remember going to see those Adrian Lyne films when I was going to see movies in the nineties, and I was jealous he wasn't working at New Line.
I definitely want to study film. I'd like to have my own studio one day and just make a lot of movies.
My dream as a teenager was to run a movie studio, as in the old studio system.
It is every actor's dream to work at YRF and I feel very fortunate to be given this opportunity.
The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
(on Warner Brothers) This studio has more suspensions than the Golden Gate Bridge.
