A Quote by Brett Ratner
My movies are pretty tight and they're pretty well-paced. I'm not one to make long movies. I don't dwell on stuff.
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I have slowly paced myself in movies, and I am pretty happy with what I have done there.
I really hope everyone who saw 'Twilight' sees 'Warm Bodies,' but at the same time... I don't resent the comparison on a level of quality because I don't judge other movies like that. Now that I make movies, I see how hard it is to do everything. I pretty much love all movies.
There are very few distributors left to do off-Hollywood movies, and those distributors generally have got thousands of movies to choose from. So you're pretty lucky if you get one to even take your movie and it's pretty rare that they pay anything upfront.
I was offered 'Pretty Woman.' I was offered 'Big' and 'Dead Poets Society.' But what was important to me in those years was to make movies, to make these Albert Brooks movies.
I think I could probably make $5 to $10m movies for a very long time and live a perfectly good life doing it. I'd probably get paid as well as a surgeon, which is pretty damn remarkable for a guy who went to film school.
Their way of working [the Coen brothers] is always kept pretty mysterious. I was so curious to see how they make these movies. It was just such a joy - they seem to have so much fun making their movies.
I think I'm pretty committed to staying. I'm not committed to not doing big movies, but I am committed to continuing to make smaller movies, not for the sake of making smaller movies, but because I think it's really invigorating to just go work with people and know that it might be awful.
Horror movies travel pretty well anyway. They're like action movies: People overseas can watch them and enjoy them, and they're not so culturally specific in terms of their references, and they can follow a good scary story.
I don't mind other guys seeing movies I want to see and then writing about them. That's fine, especially when it's the New Yorker's Anthony Lane, because he knows this stuff pretty well.
I like tight bodies and pretty faces. You bring in Methuselah, if she's got a tight body and a pretty face, that's all right, too.
Well, the first two movies of any size that I did were a movie called 'Everybody's All American' that Taylor Hackford directed - I was pretty diva on that - and then 'Pretty Woman,' which is probably my first real breakthrough.
I have a pretty eclectic taste in the movies that I like to watch, and also in the movies that I'm inspired to work on.
I like zombie movies, and I like genre movies a lot. To watch. Less so to make, I think. But I grew up on that stuff. I would just grow up watching a lot of horror movies, a lot of slasher movies and then zombie movies.
I look at the Marvel movies and the DC movies and various creators' creations, and I think, you know, that's really pretty cool.
In growing up, I was a child of the movies. I went to the movies every given opportunity, and that's pretty much what has informed a lot of my choices.
When I was on The View, Barbara Walters was asking me about the blood and stuff, and I said, 'Well, you know, that's a staple of Japanese cinema.' And then she came back, 'But this is America.' And I go, 'I don't make movies for America. I make movies for planet Earth.'
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