Sharon Gless Quotes

The Hollywood structure was monopolistic, run by four or five big studios.

The main trouble with Hollywood is that the guys you have to pitch to, the guys who run the studios, are all business school grads.

We were like a stock company at Warners. We didn't know any of the stars from the other studios.

By the time we got to MGM, and Lions Gate the movie was done there was nothing else to say. It was done. Just as at Universal, it was art by committee.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.

Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.

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

In another time, another world, each studio made 200 movies a year and had 20 executives. Today, a studio makes less than 20 movies a year and has 500 executives. They own too many parking decks and too many billboard companies. They're awash in overhead, and it's pinning them down, and they know it.

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.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

It's a pure dream team to work with Hrithik, Sanjay sir and Rakesh sir.

There is no reason why T-Mobile can't be successful on its own and the only real reason AT&T would want to own T-Mobile is to increase its exclusivity by owning more spectrum.

Portland doesn't have the same kind of infrastructure that the national film hubs have. We struggle with that a little bit.

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

The Punjabi industry lacks a lot in terms of good production houses and actors.

As a rule, Michael Balcon was at great pains to ensure Ealing remained very British. There was no point our trying to be MGM, and we didn't see a lot of American stars.

You couldn't make 'Heaven's Gate' today. Even were you to quadruple the resources to make the movie, you couldn't make it because the people don't exist.

I very much love Los Angeles, and I love working here. I find it very inspiring and very creative, and some of the best crews are in Los Angeles.

Gerald's Game,' we could not have made it at a studio without substantive changes to the story.

I've always relied on a big producer and big studios. I had budgets that were ridiculous.

When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.

I wish I was making movies back in the days when John Ford made movies and you were a director under contract to a studio. John Ford had years when he made three movies in a year.

It's not so important to me where I work. A lot of good writers and directors and actors come out of Hollywood, so obviously it would be great to work there, but there's some great stuff coming out of Britain, so I'm going to see what comes from all angles.