I consider anybody who has been able to make a living in this business [movie business] without having to do something else for a living for any period of time let alone 43 years would be a miracle.
When I saw the first video iPod, I thought this could have the same impact VHS/home video had on the movie business.
When the first movie to show the anger people have about the war is a grade Z zombie movie, that tells you all you need to know about how afraid of ruffling anyone's feathers people in the movie business are today.
I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.
Television is like the movie business. It's not the least-objectionable program - it's the best program that gets positioned. Same in the movie business. It's not just everything automatically gets done by the "in" crowd.
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.
I think it started to feel like home when I stopped maintaining any pretense that I was ever going to be in the movie business. I went there like many writers - I had a screenplay deal and I would go to these meetings and it was the typical thing. And I hated it. I was not interested in writing screenplays, actually. But I kept feeling like that was what I was supposed to do. It was just this horrible cognitive dissonance.
I have very mixed feelings about the movie business, and about Los Angeles in general.
I think the publishing industry is dismayingly like the movie business. It grows more corporate by the day.
You work, especially in the movie business more than in TV, but you have an environment where people feel obliged to have an input because that's what they do, and I think sometimes it can clutter things up and make things more problematic.
I think it's really important to have a life outside of this [movie] business and just be the best person you can be.
You get to use everything you learned in movie business. You talk to actors, if you do it right - and I haven't always done it right - you should be shaping the material all the time. And the other thing is, you get all the blame when you direct and it doesn't work. You get slammed. So that's another reason to know what you're making, why you're making it, and make it the way you want.
I think, when I started to become successful in the movie business, my mother was very, very worried. She thought no one would want to marry me and she thought that was the most important thing. And she thought that it would affect my personal relations. And she said how worried she was that people would take advantage of me or I would meet the wrong people. When I was made head of the studio, one of her first things was, "Well, now no one will marry you. I hope you'll be happy, whatever."
The other thing being at UCLA was just being in California and around the movie business. Which I honestly believe, and I've told this to screenwriters, you have to do. You have to be there in order to write or direct movies.
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.
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 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.
In this day and age, you need a lot of patience if you are in the movie business.
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.
I think having power ingrains people with a conservatism. There's a tendency to hedge one's bets. (Which explains a lot, actually, about why the movie business is the way it is, and why the publishing industry is too.)
Feminists is something people hate above all. Nothing worse than being a woman in this [movie] business. I really believe that.
I have to say I was very lucky in this [movie] business. I was in the right place at the right time when I first got started.
Creating art (music, books, films, etc.) can be beautiful and liberating, but trying to sell art, well, that is the movie business. There are few winners, and lots and lots of losers.
You can tell when someone likes you just because you're in a movie, because all they talk about is the movie, and all they talk about is the movie business.
I'm used to doing comic books, where every month there's a new comic book! I find that the movie business is not quite the same. It doesn't move quite as fast.
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