A Quote by Bonnie Hammer

Oftentimes, when a movie turns into a series, you never retain the creative auspices. You buy the idea, you buy the franchise, and then you bring in a whole new creative team and copy the tone or sensibility.
It's very rare, in a movie franchise, where you have the same creative team behind the camera and in front of the camera, pretty much, for the entire growth of the franchise.
I still believe in putting something out and not asking people to buy the record, then buy a ticket to my show and then buy a t-shirt and then a, like, copy of the show they just saw on CD. That's undignified to me.
What happens is that all your life you operated businesses in such a way that you could one day afford to buy a baseball team. And then you buy the team and forget all the business practices that enabled you to buy it.
I always buy something to make myself motivated. It's good to feel that you can buy something and motivate yourself. That's what I do, just buy stuff. I like to buy something new and then record.
A producer is supposed to generate an idea for a movie. And then they're supposed to create the team, the group of people that are gonna make this movie. And within that team, the producer has to have a creative vision and a fiscal vision, and they have to adhere to both things.
If you buy a DVD you have a copy. If you want a backup copy you buy another one.
When Paul Heyman came and gave me the whole idea for the character, 'The Franchise,' I remember the NFL was just starting to classify one of their players as the franchise player. So that was the whole idea, that 'The Franchise' was the franchise player for ECW.
Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.
It's not part of my ambition to become fabulously rich. My plan was always to make my pictures, and hopefully people would buy them, and then I'd buy a studio, buy a house, help friends out, do bits and bobs - but I've no idea after that.
The creative industries tend to dismiss technology as just something to buy and not understand how hard it is and how creative it can be as well.
We've been trained to spend money since we were born with all these commercials with toys and G.I. Joes and Transformers. But there's so many things in the supermarket, there's so many things on television that automatically, when you turn it on, are saying, 'Buy! Buy! Buy! Buy! Buy! Buy! Buy!'
And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.
From Nike, we buy victory. From Under Armour, we buy protection. From Lululemon, we buy zen. From Patagonia, we buy conservation. From BMW, we buy performance.
Jazz at Lincoln Center is something that is very necessary for the creative process. There's a couple of brothers running around New York, trying to buy up the cultural places, who shall remain nameless. Well, there's a lot of brothers - pick any two. Pin the tail on the... they want to buy up stuff and steer the country a certain way.
When the masters of industry pay such sums for a newspaper, they buy not merely the building and the presses and the name; they buy what they call the "good-will"- that is, they buy you. And they proceed to change your whole psychology - everything that you believe about life. You might object to it, if you knew; but they do their work so subtly that you never guess what is happening to you!
I was a journalist, but I was starving. And I've written fiction, but I couldn't get a publisher. So, I was basically a very frustrated creative person working in advertising, and even there, I have a great idea that client won't buy it.
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