Sony Quotes - Page 2

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I actually got signed when I was 14 with Sony Sweden. Things didn't really work out with that, but I'm glad I had the opportunity to be exposed to the industry at a young age.

But Apple really beats to a different drummer. I used to say that Apple should be the Sony of this business, but in reality, I think Apple should be the Apple of this business.

I think one of the reasons for the success of 'Breaking Bad,' and now for 'Better Call Saul,' is that we have been blessed by AMC and Sony with enough time to figure things out.

I think you can expect Sony, in the case of PSP specifically, to deliver a technology that is going to reinvent and change handheld entertainment, and take it to a brand new level.

I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.

I have a black pair of suede Jimmy Choos. I've only worn them once to a Sony event. The heels have these arrow plates in a pattern. There's gold, black and white and they're amazing!

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

I have the Sony Reader; I have the Kindle as well. I don't really use either of them, to be honest. I'd rather sit down with a cup of coffee and a newspaper than read all my digital books.

I signed at Sony and suddenly they've started to take an interest in Israeli musicians and to listen more, and I send them stuff. It's very important for me to open that window for Israelis.

My first college internship was at Sony Pictures Entertainment in Los Angeles. My second internship was at McKinsey & Company as a consultant - that turned into my first job after graduation.

Before I ever had my record deal, I just had a publishing deal over at Sony ATV. I had that title, 'Flatliner,' and just the idea of a girl stopping everybody's heart - just kind of a fun idea.

We compete with Dell and HP. Now, we are going to compete with Sony and Best Buy. Are we going to be like Best Buy? No. Are we going to be a small Dell? No. We are going to be uniquely Gateway.

I haven't really been recording in the last several years. I haven't wanted to. And even though I had to deal with Sony and now I'm on Universal again, I will probably put out a new record soon.

My connection to 'Aquaman' came out through the Sony hack. It had no relationship to reality. I was not on that film. I was not hired to work on that film. I had been talking to Warner Bros. about it.

I've been through the entire gamut of the music industry - I've been playing in clubs since I was 14, and I've been on Warner Bros, on Sony - I've had lots of successes and some serious times of struggle.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.

Sony is the coolest studio. They are really amazing. I think part of it comes from they're not an American corporation. They don't work by quite the same rules. And their studio heads have a lot of autonomy.

If I had gone to a big company, it would have been very difficult for me to do research freely. At a big company, say Sony, there are very, very good researchers. So I would have to ask them what I could do.

I'm from there. You know, when you grow up with these people and see them every day and then you look at the numbers it was easy; it was a no-brainer. And when Sony took a look, it was a no-brainer to them, too.

I don't read good reviews. I like to know what percentages are going on. When Sony sends out something saying that people are liking the movie, I like to know that, but I don't actually sit and read the good stuff.

Go where your customers take you! For example, did you know that Sony's first product was a rice cooker? Since abandoning the rice cooker, it has merely managed to become the world's biggest consumer electronics company.

I was the only kids to have Sony Umatic tapes of the old 'Star Wars.' It was such an old technology; you needed two or three tapes to show one movie, so the kids used to come over to my house, and we would watch 'Star Wars.'

Platforms are going to get bigger and bigger. Minecraft and Microsoft are just the tip of the iceberg. You're going to see more and more action in this space. Not just from Microsoft's Project Spark and Sony's LittleBigPlanet.

I was MCing in the playground, spitting lyrics over mobile phones - Sony Ericsson, Walkmans, W810s, the Teardrop Nokia phones, all of that. Vital equipment! I never even had a DJ set where a DJ's playing vinyl, and I'm spitting.

After 'Hook,' it was so sad for all of us to watch the set get destroyed. We were at the end of 'Hook,' and we're walking off the Sony lot and we're literally seeing the boat get destroyed. That was the sad thing, seeing that go.

Most of the robots being developed for home use are functional in design - Gecko's homecare robot looks rather like the Star Wars robot R2-D2. Honda and Sony are designing robots that look more like the same movie's 'android' C-3PO.

I grew up doing musical theatre in Orlando, Florida. When I was 14, I just happened to be in the right place at the right time - a deliveryman heard me singing and offered to deliver my demo tape to Sony Music. I was just really lucky.

For a broad, star-powered picture like 'The Interview,' a big-tent release in 2,000 to 3,000 theaters is the top choice for a movie studio like Sony Pictures. It's the difference between a $1 million and a $10 million box office total.

I always knew I wanted to create original material, and after having meetings with all sorts of record labels, I decided that Sony was the right place to do it. They knew what I wanted to make and gave me the freedom to express myself.

The hardest thing about being at Sony was not the travel; it was being divorced from the public and private life I had in New York. Travelling as much as I did, while I didn't lose connection with my friends, I lost a sense of belonging.

There are a lot of companies - not just Sony and Kodak - that have spent a lot of money trying to make the quality of the digital images comparable with film. But when you're sending these things over the Internet, they don't have to be high quality.

I got signed to a development deal when I was 15. That fell through after about a year when the company merged with another label. Then I got picked up by Sony publishing. So I was writing professionally from 16 to 18. Then I started making my own records.

When I finished Westlife, we had - Louie Walsh is still managing me - I was lucky to have options from different labels such as Sony and Universal. When we met Capitol and Nick Raphael, I just believed in them the most, and it looked like they believed in me the most.

Until the '90s, major labels were looking for a certain look. This Sony guy told me I was 'too black, too fat, too short, and too old.' Told me to go and bleach my skin. Told me to step in the background and just stay back. I had the voice, but I didn't have the looks.

I'm a huge fan of 'Heart On My Sleeve' - I think it has a 'Take That' feel to it! John Shanks and James Morrison wrote the track, and we spoke to Sony and asked if we could reference a 'Greatest Day'/'Rule The World' sound to make that epic ballad. I think it does the job.

'Blasto' is a new game for Sony Playstation. It's an awesome three-dimensional game, and I play the character Blasto who's sort of a Flash Gordon barrel-chested superhero who goes to Uranus and shoots these little green alien Fascist guys. He rescues babes; he goes on wild rides.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

After my second No. 1, my record company, Warner Brothers, gave me a beautiful present - quite unique at the time - one of the very first Sony stereos which had speaker and radio included so I could record the radio and build up cassette tapes of music, gospel singing, adverts, evangelists.

My first motion capture game was with Sony - 'NBA: The Life.' It was very ahead of its time. Brandon Akiaten, he was the writer and director. He had a real vision of what this game was meant to be; it was a basketball game where I was the Jerry Maguire sports agent type guy. And it was great!

The destructive malware attack against Sony Pictures Entertainment (SPE) in late 2014 was an unprecedented cyber event for the United States in its scope, destructiveness, and economic implications. The FBI responded to this attack with an investigation that was groundbreaking in its scope and collaboration.

Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.

For Sony, owning a studio is a gamble and probably a pretty good one, now that in the broadband era having content is a great advantage when you sell devices that in a ubiquitous world of distribution can actually show programs, movies, content directly to the consumer. So that you actually create, in a digital world, real synergy.

The Canary Islands offer special incentives to companies looking at potential filming locations, so it was only logical for me to help the local government make connections with major U.S. film studios like Universal, Fox, Sony, Disney, Paramount, Time Warner, 21st Century Fox, CBS, Viacom, Comcast, HBO, Netflix, Warner Brothers etc.

I played at Sony, Warner Bros., Universal, Big Machine, Capitol... after I played every one of those places, everyone offered me a record deal. I was just like, 'Who am I? Why do I even deserve this?' There are people busting their butts on Broadway doing this hardcore, playing three hours a night for tips, and I didn't even ask for it.

I did a Sour Patch Kids commercial. First they're sour, then they're sweet. The Sour Patch Kid throws eggs at me, at my front door, and then comes over and gives me a hug at the end. I also did a Sony PlayStation commercial. They don't give you anything. I thought I was gonna get Sour Patch Kids; I thought I was gonna get a PlayStation.

And I could see - this franchise is very successful for Sony and I think it's awesome. I was big part of making that a success for them and I think it's great that they should continue doing it, but I don't want to make 'God of War IV' and 'God of War V' and 'God of War: The Expansion Pack' and 'God of War: The Role-Playing Kart Racing Game.'

I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.

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