Quotes of All Topics . Occasions . Authors
If there's a secret to New Line, it's the people here.
With 'House Party 4,' I did it with my own money, and I sold it to New Line.
I'm bored with that line. I never use it anymore. My new line is 'In 15 minutes everybody will be famous.'
We have a partnership deal with New Line Records, which is part of New Line Cinema, and... I worked on that.
I have a relationship with New Line, so I'm grateful to them for taking a punt on me - both for 'We're The Millers' and 'It'.
I remember going to see those Adrian Lyne films when I was going to see movies in the nineties, and I was jealous he wasn't working at New Line.
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.
One way to find food for thought is to use the fork in the road, the bifurcation that marks the place of emergence in which a new line of development begins to branch off.
Yeah, getting the company that would help advertise and cross promote the movie on the release was an important factor for New Line, so we went out to a lot of different companies.
I developed that for a long time. I also developed 'Sugar Sweet Science' at New Line and that didn't happen. That was a boxing movie. And between all that there were a couple of other things.
By this time it was past six, and the enemy's van and ours were at too great a distance to engage, I perceived some of their ships stretching to the northward; and I imagined they were going to form a new line.
We wanted to do a sequel with Jim and Jeff. They said that the word was that Jim didn't want to do any sequels. We approached him and he said he would do it, but not until next year. New Line said it was too long to wait.
My brother started in the music business, and I was an actor - we were both in the entertainment industry, but doing separate things. Then he went over to New Line and started their soundtrack department, that's how he got his foot in the door.
Because of my New Line upbringing, half my heart goes to scrappy independents, and half goes to mainstream, down-the-middle pop culture events. And even with those, to try to keep something fresh and original with them and try to do things that the majors miss.
That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.
Castle Rock and New Line each have their strengths, but the great thing about New Line is that they are a real focused-market, niche-market player who understand franchises. They probably understand the franchise business in motion pictures better than anyone else out there.
Horror films are the ones that pay the bills, and historically, they have shown that they are good investments. They helped Universal survive with that initial splash of horror films in the 1930s and '40s. And horror films kept New Line alive with the 'A Nightmare on Elm Street' series.
I remember, after 'Tumbleweeds,' my friend and I wrote 'Pride and Glory.' I was just about to get it going. I had some really great actors attached, and New Line was going to make the movie, and 9/11 happened. And it was over. By September 12, it was over. And rightfully so. I understood that.
Most of the time I've worked in labs if I didn't encounter something in a week entirely unexpected and surprising I'd consider it a lost week. Lots of that is due to mistakes and stupidity, but it could open a new line of inquiry. Something really good turns up once in a hundred times, but it makes the whole day worthwhile.
