A Quote by Chris Albrecht

The scripts for Marco Polo are absolutely, positively fantastic. The challenge of making that show in China has proved to be as formidable as we feared. It's not like making a movie in China where, once you load up and you leave, you're gone. We have to be able to come back and capture something that's going to feel like a major feature film, on a television budget, and do it, hopefully season after season, so we are taking more time than the producers thought.
I never really imagined a show about a sponge going past our first season. I thought maybe we'd have a cult following, and we'd be gone after one season.
I could hire every producer in Hollywood - 2,000 producers, let's say - and they couldn't come up with all the soap operas, in season and out of season, that NFL programming gives television.
I just really like writing and making television shows. There are ego rewards in doing battle with other television programs in prime time in the main season. I suppose there are times when I might look at that and think that's the major league. But when you look at it, ultimately would I really want to gamble my livelihood and my ability to connect with my fan base or write a show that I really like writing, or in some cases direct a show that I really like directing, for the sake of winning an ego battle? It's totally not worth it. That stuff is so ephemeral.
Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"
There's always a concern over budget with film too but people are more extravagant when they're making a feature. In television everything's tight, everything's paired down and it's just a question of making it look expensive.
Pretty early on in making the first movie I realized that this is what I wanted to do. I felt like by that time I just found my niche, like this is what I was supposed to be doing. So I completely submerged myself into the world of watching movies, making my own movies, buying video cameras and lights. When I wasn't making a movie, I was making my own movies. When I wasn't making movies, I was watching movies. I was going back and studying film and looking back at guys that were perceived as great guys that I can identify with. It just became my life.
For those of you who are fans of 'Agents of SHIELD,' that show has continued to grow creatively every season. I feel like last season, Season 4, was its strongest creatively yet. I'm very excited for what we have planned for Season 5.
He was an Italian kid traveling in China, and I'm of Italian decent with a fascination for China. So, I always felt this connection to him and lived vicariously through the travels of Marco Polo.
I actually did a mini-season in China before and I was able to come back to the national team and kind of knew what I needed to do to get my body right.
One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].
Our purpose is not to contain China, to hold it back, to keep it down. It is to uphold this rules-based order that China is posing a challenge to. Anyone who poses a challenge to that order, we're going to stand up and - and defend it.
It's funny; in fashion, you can never relax and feel like it's all sorted. Every season, you have to give yourself a challenge and come up with something new and fresh.
Television is an excellent training ground for a director. If you work consistently in television, as I did, you have to come in on time and on budget. What you are allowed in feature films are, fortunately, more time and a larger budget.
Until I have a season where I do feel like I'm the best, I don't think I'm really going to be satisfied with it. And even when I do have a season where I feel like I'm the best, I'm sure I'll find something that I'm unsatisfied with it. That's kind of how I am.
I wasn't really interested in doing anything except going from pilot season to pilot season and sowing my oats in the months between and telling my agency to stop sending me movie scripts, because they'd pile up in my house and make me feel guilty because I had to read them.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
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