Studio Constraints Quotes

The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.

As long as your movies don't lose money, you'll always be able to make them.

The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.

All the songs on the first album were like skeletons of how we really played them. It was just a combination of not having any studio experience and having to do everything so fast. I also think that studios are, by nature, limiting. You cannot get the sound of five big amplifiers on a little piece of tape.

The studio is spending great amounts of money, and they want some insurance they will get money back. They go for the middle of the road, broad in appeal. It's restrictive. It's a constant struggle, but if you give in, you're just making cottage cheese, and that's the end of it.

I have a real interest in pushing some of the limits of things that studios don't want to make.

A movie studio has to answer to a marketing department, and to shareholders, to ensure the broadest audience possible for its product; it tends to err on the side of caution as a result.

Non-studio entities can experiment with storytelling that might be too niche... for a studio.

The accomplishment that I am most proud of is that 'Free Willy' and 'Dave' got a political message out, which isn't easy to do within the constraints of studio moviemaking.

I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.

I've recorded at home since I was a teenager, and I'm able to sit here in my underwear and keep trying different things until something works. I think if I did that in a studio the engineer would be like, "What the hell is wrong with you?"

There are a lot of characters that you can get into that don't exist in the studio world.

Yes, you want to do studio movies, but I also want to grow as an actor, and an actress like me is not going to get roles where you grow and evolve in a studio film. It's just not gonna happen.

I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.

I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.

Gerald's Game,' we could not have made it at a studio without substantive changes to the story.

I want to make big movies - but I don't want to have to die a little death every single time I do. Until I meet the people or the studio or the business people who will let me do things a little bit more the way that I need to do them, I probably shouldn't be making big studio movies.

I'm proudest of the fact that I've been able to make a few movies in the studio system that are slightly unorthodox and personal. But it's never quite as easy as you dream that it could be.