Quotes of All Topics . Occasions . Authors
It's a roll of the dice in the movie business. I mean, every single movie is a roll of the dice. Any movie on paper could look like it's going to be fantastic. You know what I mean?
I was always a singer. But I was always focused on being an actor as my trade. Music I do just for me. The movie business is very difficult but the music business is just impossible.
My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
Because of who I am, when I sit at a poker table, I meet people who engage me in conversation, not only about poker, but also about the movie business and about the world of celebrities.
As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
People are goofy about the movie business, so you end up counting on friends you knew before you were successful. It is harder to make new friends because you are a little more cautious.
The left-leaning thinking that dominates the movie business follows a common liberal instinct to deny the spiritual dimension to every problem, thereby profoundly compounding the difficulties.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.
I left Mexico for artistic survival. If I had stayed, I would have been forced by the government, who control the movie business, to direct TV shows or commercials or infomercials for the government.
I'd like to start trying different fields of work. I don't want to be stuck in just comedy, and I'd be interested to try to break into the movie business because it's so much different than television.
I think in some ways I'm quite lucky to be living in London, there's this certain separation from the movie business. In that way, it's been quite easy to separate acting and going back to a normal life.
I have the highest respect for stars and auteur directors. But I don't want to work with people who only invite me to the preview. We want to be in the collaborative movie business, not the financing one.
There are a lot of kids out there copying and distributing movies - not because they care about seeing the movies or sharing them with their friends, but because they want to stick it to the movie business.
It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.
I stuck around in Hollywood for too long. I was there a long time, and when I left, I was smart enough to realise that what I was leaving was not just the movie business. I wanted to get rid of the whole atmosphere.
If your family was part of the movie business, then watching 'Moguls & Movie Stars' is like looking at the family photo album: hilarious to members of the family, numbingly boring to those outside the family circle.
I'm not in the movie business anymore, and hardly any 70 year olds are. I always ask the producers: 'Are there no 70-year old vampires?' Apparently there are not - or even zombies for that matter. I guess they all get eaten.
I've gone far in the movie business, but no matter how far I go, every time I pick up the phone to call Tom Hanks or Robin Williams, I wonder if they'll call me back. And you know what? Sometimes they do, and sometimes they don't.
When I started Participant, I felt that the movie business was ripe for a company that dealt with big issues in a systemic way. I was a little surprised that nobody had done it before. But to most people, entertainment is escapism.
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 always loved movies as a child, and I love story. I got my degree in English. Film and story seemed, to me, the vector of the movie business. I really didn't know what 'the film business' meant, but I decided I wanted to be in it.
My opinion is that the movie business should show an accurate picture, but I think the responsibility lies in the educational system. Most of the educational material I've seen on the Native American does not portray an actual picture.
Certainly in the movie business there are bullies all over - bullies in the distribution business, exhibition business, production. Fine-tuning adult bullying is different. When a bully is an adult, it's a whole different set of colors.
The movie business can be very frustrating and very circuitous; there's no straight path. You have to have tremendous perseverance, dedication and passion. You have to want it very, very badly and you have to deal with a lot of rejection.
For me, I try as much as possible to just think about being in the movie theatre, having the lights dim, and what would I want to see on the screen. That puts me in the frame of mind that made me want to be in the movie business to begin with.
I've never written a movie, I'm not in the movie business. I go out to L.A. and I'm like everyone else wandering around in a daze hoping I see movie stars. I write the novels that the movies are based on, and that feels like enough of a job for me.
The music and movie business has been consistently wrong in its claims that new platforms and channels would be the end of its businesses. In each case, the new technology produced a new market far larger than the impact it had on the existing market.
The movie business has been in enormous flux. It's always changing, and you've got to scramble. The Internet came along and devoured the DVD backend of the movie business. Suddenly you're watching dollars turn into nickels, and that's interesting to me.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it.
Financiers don't support their directors to cast properly. They don't have the vision of an artist. They're casting to spreadsheets, and it's making movies very mediocre. The movie business used to just be called the movies. Now it should be the business movies.
You don't get to see your family much. In the movie business, directors often go out of town for long periods of time, and even if you're in town, you're working 14-15 hour days. People tend to not balance out the important things in their lives with their career.
My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.
Rome is magic, it's like being in Hollywood. But the difference between Hollywood and Rome is that here you don't have just the movie business. The movie business is so little, so you also have the choice to hang out with people who do different kinds of business.
If you were in Clint Eastwood movies, you were in the Clint Eastwood movie business. You weren't in the movie business. You weren't part of Hollywood. This became clear early on; people stopped calling. They automatically assumed I was working exclusively with Clint.
The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.
In a business like the movie business, you're going to have a lot of people competing. Somebody is always coming behind them who wants their job. Being an actor is like being in quicksand: whatever you do, it disappears very quickly. You have to keep reminding people.
My first-ever job in the movie business, I was an art student at Carnegie Mellon, and they were shooting the movie 'Gung Ho' in Pittsburgh, and I worked as an extra for a few days. Michael Keaton bumped into me in one scene, and it's in the movie. And I worshipped him.
I grew up in a small town where I went to the movies a lot and fell in love with all these people. I also fell in love with the movie business. So all I saw were actors on the screen so I thought, well, that's what I have to be if I want to be a part of the movie business.
The Hollywood image of the movie business is all about ambition and high achievers like James Cameron. But the British film industry is much more about men who wear cravats and work with model trains and hope another series of 'Thomas the Tank Engine' will be commissioned.
I think the movie business, you meet people, and you work intensely with them, and you have these relationships - there's an intimacy to it and a familiarity to the relationship because you're having to let go of all your barriers so you can let people in and work with them.
Often, in the movie business, they need somebody who will garner box office because they need to pay for the movie. So the people who are in movies that make a lot of money are the people who most often get cast in studio pictures. In my career, I've never been a box office name.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.
Here's the thing that I think really pushed me, was my versatility. Because when I came in to the movie business, all the stunt men were specialists. If you did horse work, that's all you did. If you did cars and motorcycles, you did that. But when I came in, I taught myself how to do everything.
I was 15 when I read the script for 'Earth to Echo.' I thought it was amazing, and I couldn't think of turning it down. It's awesome for a kid from Brooklyn to have an opportunity to be on the big screen. And I had a great experience learning what the movie business is like. So, I'm glad I did it.
The secret to the movie business, or any business, is to get a good education in a subject besides film - whether it's history, psychology, economics, or architecture - so you have something to make a movie about. All the skill in the world isn't going to help you unless you have something to say.
The movie business is very difficult but the music business is just impossible. So I'll play in bands and record and play songs with other people, but for me it's a form of expression that all I need is me. I don't need cameras or agents, I can just have a piano and sing and feel totally verified.
Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
I have no idea what the economics of the movie business is, especially with all the new Amazon, Netflix, Showtime, AMC, SyFy, and HBO series. But I am intrigued with what feels like a new type of show - the six-to-eight-hour movie. It's a little too long to watch in one setting, but you can watch it over a three- to five-day period.