A Quote by David Fincher
What you learn from that first, and I don't call it 'trial by fire,' I call it 'baptism by fire,' is that you are going to have to take all of the responsibility, because basically when it gets right down to it, you are going to get all of the blame, so you might as well have made all of the decisions that led to people either liking it or disliking it. There's nothing worse than hearing somebody say 'Oh, you made that movie? I thought that movie sucked,' and you have to agree with them, you know?
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When I first heard that they were going to make 'Beauty and the Beast' at Disney, I was like, 'Oh, God, there's no way I'm going to see that movie,' because I knew what that movie was, was just two people sitting down to dinner over and over and over again. But then when I went to see it, it was like, 'Oh, they made it work.'
I always worry that people are going to be very confused; sometimes timelines get confused with how movies get made. So when I say, "Oh, I made this movie when I was going through a divorce," people think, "Oh no! She's pregnant with a child and divorced?"
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
I can't stress it enough that we genuinely love 'The Room.' Like I said, I've seen it more than any other movie that's ever been made, and it gets to a point where if a movie is that watchable, when can we just call it a good movie?
I do not plan in any way to whitewash my sin. I do not call it a mistake, a mendacity; I call it sin. I would much rather, if possible - and in my estimation it would not be possible - to make it worse than less than it actually is. I have no one but myself to blame. I do not lay the fault or the blame of the charge at anyone else's feet. For no one is to blame but I take the responsibility. I take the blame. I take the fault.
Then you have these people in the movie theaters that talk the whole time during the movie. You ever go with somebody like that to a movie but you don't realize until you get there that you're with somebody like that? Brand new movie. First day it's open. You're there together and the entire time they're sitting there: Where's she going? Why'd he do that? Is he mad at her? I don't know, let's watch and find out together shall we? You know who you are. You're denying it right now: I do not do that. Why is she saying that?. What's she gonna say next?
I'm sticking to what I've always said, either the right movie gets made or no movie gets made.
If your cat's up a tree, you call the fire department. If someone's hurt, you call the fire department. If there's a mudslide or your house is on fire, you call the fire department. They're our first line of defense.
Johnny Blaze was my character at OVW. I had all these fancy fire catchphrases: 'Call the fire department,' 'Get your fire extinguishers out, ladies.' 'By the time you hear the thunder, it's going to be too late because the lightning will have already struck.' That was all my thing.
It's interesting because First Wives Club was the first movie that made a shitload of money that starred all women over a certain age. That was a milestone that made you think, "Oh, things are going to change."
Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them anyway!
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!
When you're writing a movie or a play and writing isn't going well, which is for me the normal condition - it's an exceptional day when suddenly I've got something and it's going well - you can call the studio or the producer or whoever is waiting for it and say, "I know I said I was going to have it in by the end of the summer.
There are times through the process that you just think, "Is this all worth it?" It's very, very difficult to get a movie made, and it's very difficult to get a movie made that turns out well, and that fans love, and that the marketing gets right.
What I like doing best is Nothing." "How do you do Nothing," asked Pooh after he had wondered for a long time. "Well, it's when people call out at you just as you're going off to do it, 'What are you going to do, Christopher Robin?' and you say, 'Oh, Nothing,' and then you go and do it. It means just going along, listening to all the things you can't hear, and not bothering." "Oh!" said Pooh.
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