George Sidney Quotes

When my mother signed at MGM, that was the only kind of contract you could sign. There was no such thing as an independent agent.

I think the movie business and film crews are a little bit like the circus, in that we travel around like a pack and we're a big family for a finite period of time. We roll into someplace, cause a bunch of damage, and then roll out.

I've worked on movies where there's all these people coming and going, and I don't even know who they are.

The film business has so many twists and turns that it's a miracle any film gets made.

A film set is a workplace for me; it's my office, and nobody really wants to be in a stressful work environment.

I think that I learned a studio system prefers a sort of professionalism from the director.

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.

Acting is a community where you come in and out of each other's lives. I'm slightly envious of the Golden Age of Hollywood. It must have been frustrating to be owned by the studio, but it was also like being in a company, working with the same people, and that appeals to me.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.

When there's a good script, everybody circles.

I'm re-teaming with the producers of 'Twilight,' whom I love and who I have an amazing relationship with.

When dealing with HBO, you actually are dealing with real filmmakers.

I was on Warner Bros. for a minute.

Hollywood must have been terrific once.

If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.

My absolute favorite thing about working on 'Liv and Maddie' is my cast and crew. The people that I spend almost every hour of every day with. Your cast has great influence over the quality of your life, and I've been blessed with not just a cast, but a family.

The only home I had was with Warner Bros. during the '90s. I made four movies with them then. Natural Born Killers, JFK, Heaven and Earth. Any Given Sunday was the last. And that was the end of the Terry Semel/Bob Daly regime.

When I was in Middle of The Night, MGM came and offered me a contract and I said that when I got out of the play, I'd like to try it. I didn't know anything about making movies but I was certainly finding it interesting.

Making 'Pacific Rim' was a lot like what you imagined making movies would be like when you were 12.

I was shooting for 'Bin Roy' and 'Ho Mann Jahaan' simultaneously.

While growing up, I always wanted to see myself on the big screen - more so because there were no laptops then, and viewing on mobile was a far-fetched dream.

One of the first times I wrote about Robin Williams for 'The New York Times,' I interviewed him for a feature about 'World's Greatest Dad,' a dark comedy he starred in for his friend, the writer-director Bobcat Goldthwait.

Think about Medusa, with the snakes. If you shoot a movie in Europe, the financiers are three snakes, and they all have opinions. In Hollywood there are, like, 20 snakes.

It's awesome that we can make more and more movies that are crossing boundaries.

I think the best thing that Jonathan and I have done is… having really strong people working with us - our work environment and all of our employees and everybody, we're like one big family.