A Quote by Adam Green
Hollywood is a roulette wheel. Each project dictates what's going to happen for you next, and it doesn't really matter that your project is critically acclaimed or won awards or has fans worldwide. It's a matter of how many movie tickets and DVDs and on-demand movies that you sell.
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Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
Now, there are so many movies, so many festivals, and so many awards going on, each judged with each other, like your work is worse than others and that's not fair. How can you tell what's best and what's worst from these awards? We're talking about art.
I guess, at the beginning of any project, I always have the same hope, which is that it's going to be wildly successful and critically acclaimed, and it'll be a major thing.
I have long been an advocate of starting an IoT journey with a small, low-risk project that can produce immediate benefits. But don't confuse small with non-strategic. Align each project, no matter how small, into your larger strategic vision.
And I'm going to tell the truth: I didn't like that Sean Penn movie Into the Wild so much. Yes! I know it was critically acclaimed. I know it won all these awards! It's very sad that a boy is dead and all. But I thought the movie Enchanted, with the singing princess and the chipmunk and the people dancing in Central Park, was cuter. So there!
Screenwriting is a terrible way to make a living and I always try to talk anyone out of it. Until you sit in a story meeting with studio executives with no particular ability or actors who haven't even graduated high school telling you exactly how to change your script, you haven't experienced what it's really like to be a screenwriter in Hollywood. Also, unlike novelists and playwrights, you don't own the copyright on your original material. It hurts when you sell a project you love and then suddenly the project you really cared about will never see the light of day.
A good horror movie - it doesn't matter how many comedy horror films there have been before. Doesn't matter how much you think it's going to be funny. A good horror movie will scare the hell out of you... the moment you sit down and you start being exposed to that story, it's going to freeze your blood.
After a while, when the writer is mature, it doesn't really matter - not because of finances but because of reputation. It doesn't really matter how many awards you get.
Just because one tribe piles on you, take shelter and continue to work towards your next goal, your next project. Don't be discouraged and remember that there are many fans of your work rooting for you to succeed.
I'm very pessimistic about that, no matter how hard we may try. The Chinese market is huge, but out of last year's $2 billion box office, $1.8 billion was taken in by foreign movies, and just $200 million by our own movies, no matter how much we have learned of their techniques, or their good practices. The Hollywood movies imported into China are all good movies; does the U.S. make lousy movies? Yes, too many lousy movies, but the imports are good films, so how can they not be box office hits? They're all hits.
I have no idea what the next project will be and if there's a next project. I don't even know if we're all going to be here tomorrow, but I'm pretty optimistic.
No matter how many scores I've written, the next project will hopefully be completely different. As hard as it is, I'm always trying to stay fresh, not repeat myself, and come up with original musical ideas and ways of scoring.
I never try to predict what will happen to any project, ever. There are so many factors. Does the public like the subject matter, the way you handle it?
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
I think it's always hard to find great roles, no matter what age you are. So I always say to people, 'You have to remember that Hollywood is in the business of making movies that they can sell tickets to; they're not in the business of finding great roles for actors.'
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