A Quote by David Heyman
We've been working with the very best in the business. The studio really just let us alone to make the films.
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The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
The status quo is a very powerful opiate and when you have a system that seems to be working and producing profits by the conventional way of accounting for profits. It's very hard to make yourself change. But we all know that change is an inevitable part of business. Once you have ridden a wave just so far, you have to get another wave. We all know that. For us, becoming restorative has been that new wave and we have been riding it for 13 years now. It's been incredibly good for business.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
I really choose by what I like, i thought 'Alexander' was a super smart script. Just [costar] Steve [Carell] alone would have been enough. Gosh, I love working with that guy. He's just the best.
The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.
The toy business began to drive the [Lucasfilm] empire. It’s a shame. They make three times as much on toys as they do on films. It’s natural to make decisions that protect the toy business, but that’s not the best thing for making quality films.
'Southern Accents,' I think that's one of my best, really. That would have been 1984, and I wrote that on the piano in the studio at home. I had a studio, and I just happened to be down there in the middle of the night. It was quite late, probably early morning, and I just started to play, and a song just started to appear.
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
That's the beauty of being an actress, is that you hopefully get to have different roles and really stretch yourself. This is really what I've been working for a while. I've been in the business for a minute, and it's an opportunity like this that I've been really working towards.
I've never done a studio movie, let alone worked for a network. Every one of my films has been independently financed.
There's always been this feedback between comics and films. But I think that if you take that analogy too far, if you only see comic books in terms of films, then eventually the best we can end up with is films that don't move. It would make us a poor relation to the movie industry.
I guess it's the fear of failure and not knowing how the films are going to do that just drives us to work really hard to make them the best they can possibly be.
There have been a few little films I'd done like that that the studio just decided not to do much with, films like Anywhere but Here [1999] or Jeff, Who Lives at Home [2012]. Thank God people find them later and love them. I'm always really drawn to people who have seen these strange little films.
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