studios

In France, we don't yet have the craft that American TV does or big studios like Paramount. It was so cool going through those famous gates when you have your own little pass and picture on it. Woo hoo, I'm going to work!

The old studios that mass-produced dreams are gone with the wind, just like the old downtown theaters that were the temples of the dreams.

I was working at the store on the Sony studios in Culver City. And I was literally holding a shirt when they came in and told me I'd got the part! It just shows dreams do come true.

The studios don't finance anymore, they get outside funds.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios.

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It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.

Last year, when 'Black Swan,' 'True Grit' and 'King's Speech' all grossed over $100 million, it gave studios and independent financiers the confidence to make daring movies and not do the same old you-know-what.

When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.

The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.

I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.