Quotes of All Topics . Occasions . Authors
I'm a big Broadway fan and a big MGM fan.
Who needs MGM? Who needs any of these places?
I was born at the age of twelve on an MGM lot.
Nobody could emerge from a childhood at MGM unscathed.
I gave my eardrums to MGM. And it's true: I really did.
I kind of go for the MGM version of every musical style.
Lana Turner and Ava Gardner were my special friends at MGM.
All the training at MGM came to be a great help for me on 'Molly Brown.'
I enjoyed working at RKO more than at MGM. At RKO the parts were better!
I was signed to MGM. I was in Vegas for sixteen weeks at the Sands Hotel.
My last days at MGM were like the fall of the Roman Empire in fast motion.
From the time you were signed at MGM you just felt you were in God's hands.
I did a lot of hokey movies when I was starting out at MGM. Good and bad, mostly bad.
I wore so much rubber when I was at MGM, I bumped into the wall once, and I ricocheted.
Under no circumstances would it be right for me to go with MGM. Irene shares my opinion.
Among the great glories of the MGM lot were the vast outdoor sets that had been constructed over the years.
From Tiger's Bay in Belfast to the MGM in Vegas... it's been some ride so far. And the best is still to come.
Koverman is one of my favorite Hollywood characters because she was the brains of MGM, and not many people know about her.
When we were at MGM, we never did much about merchandise tie-ups There were too many executives and lawyers to go through.
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.
The big one I missed out on was 'Cat on a Hot Tin Roof.' MGM wanted me for it, and Warner Bros. wouldn't give me permission to do it.
My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.
Even though I had a lucrative contract with MGM, I had a husband who was drinking and gambling our money away faster than I could make it.
In those days, I auditioned for everything MGM made while I was under contract. Not for the roles Elizabeth Taylor eventually got, of course.
My parents were big movie-musical fans. And I thought 'Grease' was different from the usual MGM musical. I was intrigued and fell in love with it.
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.
And actually, about three weeks ago, Micky, Peter and I were in Vegas at the MGM Grand. And we did about 12 shows in seven days. It was quite an experience.
We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.
I came from the theatre, which had given me opportunities in television as well as a film adaptation of my second play 'Daddy's Dyin'... Who's Got The Will?' for MGM.
The reason that MGM hired Bobby for Our Gang was that they could look at him and say, cry, and he'd cry, and not many kids can do that unless they really want to cry.
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.
When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.
It was an absolute honour to fight in Vegas. Every fighter dreams of fighting at the MGM Grand. That's where so many legends have fought before and so many legends will continue to fight.
We gave the show away and in return, we received a certain number of minutes per hour for the three-hour show that we could sell to Madison Avenue. One of the first sponsors was MGM Records.
Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.
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.
From the time I was thirteen, there was a constant struggle between MGM and me - whether or not to eat, how much to eat, what to eat. I remember this more vividly than anything else about my childhood.
Herb Solo at that time was the head of MGM. I said, 'I want to live like Clint Eastwood.' Did I know at that time Clint Eastwood, to him, Heaven was a truck, a dog, and a picnic basket for food or something?
At MGM, you knew you were going to be working next year; you knew you were going to get paid. But I was too ambitious musically to settle for it. And I wanted to gamble with whatever talent I might have had.
In the beginning I had a real work problem. Every time I had job I had to convince the immigration authorities I was the only man for that job and get a special work permit until I went under contract to MGM.
Everything about the studio was enormous. You walked through the gates of iron, and it was palatial looking. The first day, I was introduced to Clark Gable. He said, 'Hello, kid. Welcome to MGM. I'm just leaving.'
I first saw 'West Side Story' on stage in 1958. I was in the army, having been conscripted while under contract to MGM. I caught the musical in New York, fell in love with it, bought the album, and memorised the whole thing.
I remember vividly seeing 'Tarzan' and Fred Astaire, the Chaplin films, Fred Astaire musicals, MGM, because of my mother. She was just interested in everything and she took me to opera and ballet, and then ballet got me hooked.
I had an opportunity to meet Elvis, only once. It was at the MGM Grand. It was certainly not at the height of his career. No, it wasn't at the height of his career, but it was still a thrill to see him and meet him anyway. You know?
I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.
Growing up, I would watch a movie on video and would go to the back of the VHS and locate the address for Universal Pictures or MGM or whatever. I'd write to the studios asking them if I could be in a movie. They never wrote me back.
Looking out the window and seeing the MGM and Floyd Mayweather takes me back to when I was a kid. Those were the places you'd hear about, the ones that staged big fights and top fighters. You always want to one day fight there yourself.
All the Warner actors were real actors. They started in theater and led very straightforward lives - you never saw entourages around. The MGM girls were the glamour girls, and they always had the makeup and hair people with them and all that.
So vast is the shadow cast by the MGM production of 'The Wizard of Oz,' so indelible are its characterizations, so perfect its music, and so assured is its cinematic immortality, that most people think of it as 'The Original.' In fact, it isn't.
There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.