A Quote by Alan Taylor

When you direct a movie that makes no money whatsoever, there is no rush to your door for the next one. — © Alan Taylor
When you direct a movie that makes no money whatsoever, there is no rush to your door for the next one.
When I work, I'm the actor. I'm going to do my job. I'm not going to direct the movie. If I wanted to direct it, I would direct it. I wanted J.J. Abrams to direct Mission: Impossible. I work with people that I respect. I expect them to do their jobs, and I will do mine. And I am there as a producer to help in any way, but no one makes a movie by themselves. It's a collaboration.
Everybody always says that I'm the girl next door, which makes me think that y'all must have a lot of weird next-door neighbours.
I never go outside unless I look like Joan Crawford the movie star. If you want to see the girl next door, go next door.
Victory in combat is like sex with a prostitute. For a moment you forget everything in the sudden physical rush, but then you have to pay your money to the woman showing you the door. You see the dirt on the walls and your sorry image in the mirror.
The goal is a society in which the basic social unit is you and your television set. If the kid next door is hungry, it’s not your problem. If the retired couple next door invested their assets badly and are now starving, that’s not your problem either.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
California is a tragic country — like Palestine, like every Promised Land. Its short history is a fever-chart of migrations — the land rush, the gold rush, the oil rush, the movie rush, the Okie fruit-picking rush, the wartime rush to the aircraft factories — followed, in each instance, by counter-migrations of the disappointed and unsuccessful, moving sorrowfully homeward.
I want you to be concerned about your next door neighbor. Do you know your next door neighbor?
I was doing a Broadway play, and I was really new to this business. The Broadway play was my first job, literally. The play next door was a musical called Falsettos. The director got hired to direct this Michael J. Fox movie and was looking for a kid who could play brash and salty and mean [in Life With Mikey].
My next door neighbor just had a pacemaker installed. They're still working the bugs out, though. Every time he makes love, my garage door opens.
When I was young and didn't have money, I liked gambling because winning and losing was fun for the rush of it. The amount of money that I would have to put down now to get that rush, there is no f'ing way I'm going to do it. It's just stupid. I would rather get that rush some other way.
I'm really excited to share the movie [Swiss Army Man] with people, so I'm glad that people are seeing it. And I want them to, because I think it's a really fun movie to experience sitting next to people. It makes it funnier. It makes it more comfortable. It makes it sweeter.
I put a lot of money in a coin-operated dry-cleaning place and it keeps losing money and I can't get anybody to buy it. So I keep pouring more money Into it, and into the laundry next door which'my father owns.
Artists are mostly shits of the worst order. You wouldn't want one living next door to you. Think about it: Vincent Van Gogh living next door, coming over to borrow your ear and a cup of sugar every morning-Good God!
If you heard your lover scream in the next room and you ran in and saw his pinkie on the floor, in a small puddle of blood. You wouldn't rush to the pinkie and say, 'Darling, are you OK? ' No, you'd wrap your arms around his shoulders and worry about the pinkie later. The same holds true if you heard the scream, ran in and saw his hand or -god forbid- his whole arm. But suppose you hear your lover scream in the next room, and you run in and his head is on the floor next to his body. Which do you rush to and comfort first?
It's not my ambition to direct lots of films. I think if I direct one film in my whole life, why rush it?
This site uses cookies to ensure you get the best experience. More info...
Got it!