Studio Influence Quotes

I like rock music because it's always sonically fascinating. There's never a method to what it needs to sound like. It's just however that instrument comes out that day, whatever the humidity level was in the air, what studio you were at. All that makes that tone that you can't re-create, so each song is like a person.

Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.

You should learn to be happy with what you have. Besides, the fact that I'm not a huge star has allowed me to pick and choose the roles I want to do, not the ones some person sitting in a studio office thinks I should do.

I think that there are a lot of great studio people but the fewer voices in my head when I'm getting out a draft, the better. I just get it out and then I'll listen to all manner of good ideas. And that's what happens, too, when I'm touring and doing a character on stage.

Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.

Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

It's quite common for a television show to start off as one thing and end up as something completely different. There are so many cooks in the kitchen - the network, the studio.

The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.

I just feel like with independent movies... they're really free to do whatever they want. They're not afraid to make a statement about anything, and there's not a huge studio behind them making sure that everything is wholesome and politically correct and all that.

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.

We were all ruled by the studio system. I signed a contract for seven years.

I think the big studios shaped and formed the artists that they put under contract.

My husband calls it winging it - the way I just took what the studios gave me, didn't do my homework and avoided roles that would risk my image.

As soon as you start making a film that's expensive then the studio wants total control over all elements of it because they want to get all their money back. If you make a smaller film you can try a lot more things because you can have control over it and not just be a hired director. The lower the budget the more freedom you have.

I don't suffer the decisions the studio world makes.

The main problem is that the Hollywood system has already made the film before the director shoots a single frame.

I'm happy with studio infiltration, but I'm thrilled when I see 12- to 20-year olds walking down the street with Beats and not two-dollar earbuds.

I've been in enough films where the studio wanted that extra little cuteness to make it sellable.

In the old days the studios guided your career. Now it's all up to you.

A lot of people get stuck, like, "Oh, if it's made by a studio, it can't be independent." Often they link it to the source of financing, or how it's distributed, but I don't really know how you can. A filmmaker will take his money from anywhere. It doesn't matter.

I still viewed myself as a reviewer when I was on radio. Was it appropriate for me? I think the answer is it's only inappropriate if I allowed it to affect my film reviewing. I don't think you will find any studio that said, 'Yeah, he went easy on us because he was shopping a script.'

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.