Studio Loyalty Quotes

I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.

I'm first and foremost a company man, surprising as that is. I love Warner Brothers. That's where I have a deal. That's where I've been for years. So I don't really interact too much with other studios and do things with other studios and I don't necessarily read scripts from other studios.

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.

I will, proudly and by preference, do at least one picture a year for King Brothers, and I will try to make it the best picture that I have it in me to do.

Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.

Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.

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

Most of the contract people at MGM stayed and stayed and stayed. Why? Because the studio looked after them. Warner Brothers wouldn't - they were always spanking somebody or selling them down the river.

I am too conservative to use another studio than the one I am used to, so I "had" to travel all the way from France to Norway every time I wanted to record an album. That was about 3,500 km each way in a Lada Niva with a cruising speed of 90 kph.