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Mgm Quotes

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Mgm Quotes

“To MGM fell the thankless task of policing the Garbo name and its commercial use. Several years earlier, J. Robert Rubin in MGM's New York office was panicked to learn of a trademarked product called Garbo - which turned out to be a new fangled garbage unit. The final cable from headquarters in Culver City concluded, 'It would be fairly hard to stop the word Garbo in connection with a refuse container. It does not seem anyone is going to confuse the two.”

“As a kid, I just was a contract player at MGM Studios. They put me into goodness knows how many different roles.Some of them were wonderful and some of them were very just distasteful and awful because I was playing out of my age range and I was thoroughly uncomfortable, let's put it that way. So it took me many years to find my acting feet.”

“When Clark Gable, MGM's most popular and famous leading man asked for a percentage of the profits from his films, he was flatly refused. A top executive was reported to have said, He's nobody. We took him from nobody. We lavished him with lessons and publicity and now he's the most desired man in the world. Who taught him how to walk? We straightened his teeth and capped them into that smile. We taught this dumb cluck how to depict great emotions, and now he wants a piece of the action? Never!”

“A good portion of my work with Tangerine Dream at the time involved film music, and I remember approaching it as any 23-year-old would - without much fear or respect. Also, Tangerine Dream was typically asked to deliver a monochromatic kind of score, the electronic-analog trademark sound that TD had become famous for following landmark films such as Sorcerer [Universal, 1977], Thief [MGM, 1981], and Risky Business [Warner Brothers, 1983].”

“I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.”

“I remember a meeting I had at MGM. It was at the end of their reign. They say we have you under contract, and because you’re under contract, we’d like to you to work. I said, well, that seems fair. But if it’s a really good movie, they were going to give it to a particular actor that was not under contract. The bottom line was they were going to pay you more if it was a bad one and pay you less if it was a good one.”

“At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.”

“I tap danced for ten years before I began to understand people don't make musicals anymore. All I wanted to do was be at MGM working for Arthur Freed or Gene Kelly or Vincent Minelli. Historical and geographical constraints made this impossible. Slowly but surely the pen became mightier than the double pick-up time step with shuffle.”

“I am willing to spend whatever it takes … My moral standard compels me to speak out on this issue because I am the largest company by far in the industry and I am willing to speak out. I don’t see any compelling reason for the government to allow people to gamble on the Internet and nobody has ever explained except for the two companies whose special interest is going to be served if there is gaming on the Internet, Caesars and MGM.”