Bette Davis Quotes

There's nothing like walking onto a Hollywood sound stage.

A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.

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.

It often happens that you leave your house in the dark, shoot on a sound stage without natural lighting, and then go home in the dark. A whole week can go past, and it can feel like 12 hours.

In Hollywood, I was used to being on a dirty old sound stage, and the whole crew is just scratching themselves. They don't care who you are.

In the first place, it's surreal to watch filming, to see the little ideas you had in your head and now Taylor Kitsch is doing it, or Salma Hayek. And then to see it loud and bright onscreen is a trip.

Maybe there should be less of a mystique around making movies. I just don't think that there's any real mystery there.

Warner Bros. is just this amazing historic studio that does great movies.

I loved being on the set with my stepfather. I loved the magic of movies. I went on the set of 'The Mod Squad' - I mean, can you imagine? Just walking into a living room and then walking behind the living room, and it's just flat. There's nothing I love more than being on a sound stage.

I always loved movies. I wanted to be in them! I always saw them and said, 'How do you do that?' It seemed like going to the moon. It was not a rational thought, but that's the only thing I wanted to do.

Most films, when you finish as an actor, you just go home.

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.

My first exposure to what Hollywood was like, behind the scenes, was when Joel Silver started screaming at Roger Rabbit at the beginning of 'Who Framed Roger Rabbit.'

A lot of the reason the Universal version of 'Heights' went away is that they were afraid they didn't have a big enough Latino star to bankroll this movie. The people I dealt with at the studio who wanted to make this movie were very passionate about it.

Something about 'Battlestar' that I didn't realize when I took the job was this whole bubble aspect of closing people in and seeing what they do.

My mom's a screenwriter, and before that, she was an actress, and my father was an actor; my stepfather was a director, so I was on sets a lot as a kid. I loved the magic of the set. You walk in, and it's a living room, and you walk outside, and it's just a piece of wood held up by another piece of wood.

When I saw 'Jurassic Park' as a kid, that was the first time I thought about making movies for a living.

Filmmaking as a process, it's bittersweet.

Ashok Mehta was the man who brought contrast and lighting back to mainstream Hindi film cinematography.

My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.

I grew up hearing about Raj Kapoor and K. Asif and the way they used to make films lavishly. We are dream merchants and we have got to sell dreams, which are lapped up by all.

Film, you're kind of there with some people for two or three months or so unless it's a really huge picture, and then you go away, so you don't get quite as close to the people.

I will always endeavour to bring out the best films.

When we were doing 'Criminal Justice,' they were filming 'Clash of the Titans' nearby and we kept nicking off to their catering tent and going, 'Look what they've got!'

It's such a thrill walking onto a film set.