Hollywood Studio Quotes

I was on Warner Bros. for a minute.

In my early days I was a contract player at Universal and I had a wonderful mentor named Monique James, who was head of talent there, and she used to drag me on sets to do parts.

In our house, the word of Louis B. Mayer became the law.

In 1995, I sold the rights to Harry Bosch to Paramount. They had several screenplays written, but a movie never happened. Harry Bosch went on the shelf, and I had to wait 15 years to get him back.

Hollywood studio executives don't recognize the value of female performers as much as male performers.

We want to make a 100 million dollar movie that we have created, in the way James Cameron or Chris Nolan does. It's so inspiring when high-quality auteurs are writing and directing those movies. That's pretty cool.

Those big films are scary things. There's so much money behind those things. There's that hype. You enter a machine.

I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.

Warner Bros., where I spent pretty much most of my professional life, they continue to make a lot of movies but so many of the studios are pulling back.

When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit.

M.G.M. never really gave me a break. They loaned me out for leading roles but cast me in programme pictures.

When I was in Middle of The Night, MGM came and offered me a contract and I said that when I got out of the play, I'd like to try it. I didn't know anything about making movies but I was certainly finding it interesting.

Actually, my true name is Rosa Dolores Alverio. And then I became Rosita Moreno when a stepfather stepped in. And when I got to MGM studios, which was my first film contract, they just thought that Rosita wasn't a good name, and they changed it to Rita. And yes, it was their idea.

When I closed the chapter, I'll say, in the book with TNA in 2013, literally within, it was under 30 days - it was 20, 25 days - I was already into a production agreement with a production company based out of Los Angeles.

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.

The Paramount executives were so pleased with Sunset Boulevard that they asked me to do a publicity tour.

If I thought there was any hope of turning 'World War Z' into a movie, I wouldn't have written it as a giant, epic, global story, because that requires a giant, epic, global budget.

Years ago when I was at Fox, I was the executive on 'Raising Arizona.'

On the film sets of 'New Moon' and 'Eclipse,' I feel safe. It's like you're in the center of the hurricane, but outside is where it starts to get chaotic.

I was born at the age of twelve on a Metro-Goldwyn-Mayer lot.

As great as Ed is, the wisdom out here is that he can't carry a movie. They'll pay him $3 million to be the second banana in Julia Roberts things. But they won't put up $3 million for an Ed Harris movie.

Basically, after an ABC sitcom I did, I ended up with a holding deal with 20th Century Fox. Absolutely cool. It pays you to be unemployed. And the bigger the entity that gives you the deal, the better.

In terms of doing another franchise after 'Transformers,' I don't know if that would be best for me. I'm really happy to inhabit the world of independent film.

Warner Bros offered me the next Batman, and the only reason that I didn't do it was because of The Saint.

When I got the deal to do 'J. Edgar,' which was really the brainchild of Brian Grazer, 'Milk' hadn't come out yet. We had just completed principal photography, and it was still basically this little film where we just really hoped someone would see it.