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Last year, when 'Black Swan,' 'True Grit' and 'King's Speech' all grossed over $100 million, it gave studios and independent financiers the confidence to make daring movies and not do the same old you-know-what.
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.
Teaming up with Adaptive Studios and Shudder is a wonderful opportunity to support emerging filmmakers in finding the new horror icon. This is also a great chance to scare and entertain audiences at the same time.
For me, one of the great tragedies is the conclusion studios have drawn about traditional animation. I believe that 2D animation could be just as vital as it ever was. I think the problem has been with the stories.
When I was a little girl, I watched old movies maybe shot at Paramount Studios, and the fact that every day I get to drive onto the lot and shoot a show that sometimes takes place in the '40s, it's very interesting.
I never really learnt from anyone. I just spent a lot of time at home, knocking things out. It has been interesting going into proper studios, working with people who know everything. But I find it doesn't hinder me.
I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.
Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That's bad for consumers, that's bad for studios, and ultimately, I think it will be bad for theaters.
I don't understand why there aren't more powerful female directors. I don't have the answers, but I hope that things may start to shift and that studios will employ more women to handle strong and interesting material.
When we do a movie with the studios, they wouldn't be asking us to do it, I don't think, if it was a movie they wanted to get into themselves. What you see is what you get with us, so they let us do what we want to do.
I played drums since I was 6 years old. And then I got into producing music when I was about 16 or 17. Somebody showed me FL Studios, the program. My beats were bad at first, but then eventually they started to get good.
The TV Everywhere structure is good for all cable, satellite, and telephone distributors. It's good for all networks. It's good for studios that sell to networks, so it's basically good for everybody on the business side.
It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.
In France, we don't yet have the craft that American TV does or big studios like Paramount. It was so cool going through those famous gates when you have your own little pass and picture on it. Woo hoo, I'm going to work!
If I ran into myself maybe seven years ago and told myself that I was gonna be an actor, that I'd be in L.A. working at Universal Studios with these amazing people, I'd be like, 'Get out of here. There's no possible way.'
When I first started in the business, it was hardly ever done. But today, it almost feels like studios go out and preview movies knowing full well that they're going to use the information they get to go back and reshoot.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'
It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
I've got the best of all worlds. It's every actor's dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work.
I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
I don't particularly like recording studios, they tend to be lifeless and without any natural light, so I wanted to record wherever we lived. We just don't want to be bound to a studio to who we'd have to pay untold sums to.
Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.
When I was making a shift... from one thing to another I didn't want to be answering questions: 'How come you're doing this?' 'How come you're doing that?' so I didn't allow anyone in my studio and I just worked away in there.
Studios might not be able to figure out my leanings, but anyone who visits my blog or reads my Twitter feed or meets me in person will realize right away that I am a huge superhero fan and a fanatic about Superman in particular.
To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.
I didn't really realize I was a woman director until I walked onto the set at Pinewood Studios when I did 'Mamma Mia!' and everybody was calling each other 'Governor' and 'Sir'... and then, looking at me, 'Well... good morning!'
We have the word 'Mc' attached to so many things now, like 'McMansions.' It's become part of our vernacular as something on steroids almost, just bigger and bigger. I think, to a degree, studios have fallen prey to that as well.
'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
Without Jupiter cleaning out the early solar system, the Earth would be pock-marked with meteor collisions. We would suffer from asteroid impacts every day. CNN studios would probably be a gigantic crater it if wasn't for Jupiter.
What happened when 'Sweetback' made all that money, the studios were in a very difficult position. They wanted the money, but they didn't the message. This marked the advent of the caricatures which became known as blaxploitation.
For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.
Every now and then, people will recognize me at restaurants or Universal Studios or something. I'll always take a picture with them if they want. I mean, that's what telling stories and acting for a living are for - for the people.
The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
I really only worked for about a month on 'Meatballs.' What happened was that Ivan Reitman figured out that studios wanted to meet everybody involved with 'Animal House' except the producer. So he thought he'd better start directing.
Growing up, I would watch a movie on video and would go to the back of the VHS and locate the address for Universal Pictures or MGM or whatever. I'd write to the studios asking them if I could be in a movie. They never wrote me back.
I just thought it made sense to call a book 'Not Garbage,' even though the majority of it was going to be the scraps from people's studios; like newspaper clippings, weird drawings and stuff they might not necessarily show as artists.
I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it's become very corporate, the independent scene.
Most horror films are made very cynically, and they're usually made by studios for an audience that they know is there, no matter what they put out. And there are always exceptions - every year, it seems we have a great one coming out.
Hollywood studios bury that stuff - actors who punch directors in the face and try to run producers over with cars - insanity, criminal behavior. But the studios are invested in that star, they can't have that person's name dirtied up.
There was a period around Columbine when horror films were being kind of assailed by the government. The studios got very afraid that they were going to be sued, and studios at about that time were all being taken over by corporations.
I have a big box of autographs. I took photographs of me and Marlene Dietrich, me and Ida Lupino. I took pictures of Myrna Loy and Joel McCrea in front of the studios. I loved Hollywood. I have 500 autographs and 500 photographs I took.
If you're a young actor, unless you're on a very short list at the studios, we have to be very creative about moving your career along. Otherwise, all we can do is hope to get lucky and find that perfect role that pops you into stardom.
It was really inspiring to be in West London in the late 1980s and early 1990s, especially in Mark Lebon's Crunch Studios, where I met people like Ray Petri, Neneh Cherry, Judy Blame, Nick and Barry Kamen, Zoe Bedeaux, and Venetia Scott.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.