Ginger Rogers Quotes

It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.

When I first started out and would go on pitch meetings, there was always this kind of eye-roll that would come with pitching a horror movie when you were dealing with the studios. Unless it was viewed as a cheap product that could turn a lot of profit, there wasn't a lot of interest in making it good.

I had admired the way the producers of the 'Harry Potter' franchise had found David Yates, who ended up doing their four final movies, and he'd come from television.

I would love to work with Dustin Hoffman, John Malkovich, Omar Epps, Martin Scorsese, Josh Mond, Woody Allen, Paul Thomas Anderson, and David O. Russell, just to name a few. Those guys are absolutely brilliant at what they do.

I owe all the name and fame I have earned to regional cinema.

I'm a really big believer in chief executives not staying forever.

I'm so excited to be part of the environment that David Ellison, Dana Goldberg, and Marcy Ross have built at Skydance.

Hollywood is a world where the only thing that gets green-lit is something that made money the last year.

I've pitched movies to all of the major studio heads in my time.

Earlier, actors had a lot of power in their hands. And now, it has gone in the hands of the directors and writers, and that is how it should be. They are the visionaries, and we are the doers.

It's so crazy to work with Ryan Murphy and then work in the David Fincher world with Robin Wright.

Of course David Moyes is going to come under scrutiny because he's taken over from a legend in Sir Alex Ferguson and they've made their worst start to a season in 24 years. But we mustn't take away credit from what West Brom did. Few teams go to Old Trafford and dominate the ball and carve out chances the way they did.

Vince McMahon - he's third generation, and his enormous empire, he ran it much like the territories. The buck stopped with him; he made the decisions. That's how a company should be run. Feast or famine, right or wrong, the WWE is driven off his decision making and always has been.

I don't think everyone wants to be a CEO.

As a producer, it's your job to bang on the table and convince studio heads why great movies should be made.

My parents were never into films, but I hope to make them proud with my work some day. In any case, in Bollywood, your surname matters only till your first, second, or third film at most. Beyond that, you are on your own.

I'm honored to be asked by Stephanie Allain - whom I've long admired - to add to the scope of my programming purview at Film Independent. I salute David Ansen for his work with the festival and look forward to continuing to follow his example.

I longed for people to forget Parvathy and remember my character. That has finally happened in Malayalam.

As much as you need a strong personality to build a business from scratch, you also must understand the art of delegation. I have to be good at helping people run the individual businesses, and I have to be willing to step back. The company must be set up so it can continue without me.

Louis B. Mayer and I got along like a house afire. He never chased me around his desk or tried anything with me. Of course, he never gave me any good parts, either.

Art is a bad word in Hollywood. You use art too many times and they show you the elevator and then your name is taken off the parking lot.

You're not able to do a lot of projects because you don't have a name. I wanted to get my movies to come over that hedge, so that I could do the movies that I wanted to do.

There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.

I'm very fortunate in that all the mediums I work in are extremely collaborative. Movies are probably the most solitary on a day to day basis, but even then you have producers and studio executives to work with and bounce ideas off of.

At the beginning of your career, it's 'Who is Paul Newman?' and then it's 'Get me Paul Newman.' Then it's 'Get me a young Paul Newman.' Then it's 'Who is Paul Newman?'