A Quote by Morgan Brittany
I lost agents and managers because I turned down big movies that were smutty.
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The most important thing for people to get is we're not even looking at one big investigation, all these agents working together. They were chopped up and divided, but because I worked in the central place... other agents were sending their material to me... I was in this position to see all the dots being connected... These agents, while I was there, because I was the central person, they started connecting the dots.
They wanted me to do Scream 2, and I hate talking about movies I turned down, because it sounds judgmental. There's nothing wrong with horror movies. I enjoy watching them. The main reason I turn a part down is if I think I won't be good.
I turned down 'American Gigolo.' There are many films - like 'Ghostbusters' - that I turned down... The first one I did was 'Foul Play' with Goldie Hawn, but I turned down 'Animal House' - I turned that down.
I never dreamed I'd be a spokesman for anything. But Pac Bell just asked me. The money was OK; the scripts were fun because I had to do in 30 seconds what it takes a whole feature to do and because the dysfunctional family of agents, managers and lawyers who represent me said it was cool.
I turned down some movies that were quite good. mainly on the basis of taste.
I would have turned any offer down, if it had turned into a thriller. I would have seen no point in a thriller here. I don't need to entertain people, on top of what we were doing. It's not a question of whether he did it or not. I would have thought that was banal and uninteresting, and I wouldn't care. And it could have also turned into a shoot-out because there were a lot of guns in the film.
I turned down 'Harry Potter' and 'Spider-Man,' two movies that I knew would be phenomenally successful, because I had already made movies like that before and they offered no challenge to me. I don't need my ego to be reminded.
And it does no harm to repeat, as often as you can, 'Without me the literary industry would not exist: the publishers, the agents, the sub-agents, the sub-sub-agents, the accountants, the libel lawyers, the departments of literature, the professors, the theses, the books of criticism, the reviewers, the book pages- all this vast and proliferating edifice is because of this small, patronized, put-down and underpaid person.'
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
It's hard to convince your agents and managers to do theater, because it's not as financially rewarding and it takes up a lot of time.
I always feel, I guess being a product of the movies of the 40s where movies were the greatest things and screens were big and palaces were palaces and stars were larger than life that reality was so much inferior to what we felt was conceivably possible from what we had seen in the movies.
When we got quite big and were generating a lot of money through the arenas, we became quite a big thing, and a lot of managers appeared, and it became a big machine, like we were in Pink Floyd or something, and I don't think we were into that. We didn't really compromise.
Many American TV actors employ agents, managers, business managers, publicists and stylists, and are now adding digital media manager to the list. Their job is to reach out to the fans, managing websites, Twitter feeds, Facebook and Wikipedia.
It was considered that you were stepping down by doing television. I almost turned Cybill down because I so wanted to remain a theater actress.
I was never turned down because I was a Muslim. I was turned down because I was not right for the part.
It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.
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