A Quote by Dean Devlin

There are an enormous amount of techniques I wanted to beta test in television. You can't take those risks on a $100 million movie. — © Dean Devlin
There are an enormous amount of techniques I wanted to beta test in television. You can't take those risks on a $100 million movie.
If we got $100 million dollars to make a movie, I don't know if we should be making a $100 million dollar movie our first time out.
I first would allow the guilty bankers to pay, you know, the ability to pay back anything over $100 million [of] personal wealth because I believe in a maximum wage of $100 million. And if they are unable to live on that amount of that amount then they should, you know, go to the reeducation camps and if that doesn't help, then being beheaded.
I thought at the time that I wanted to go into institutional sales, selling stocks and bonds to institutions. In those days, which was the 1960s, the institutional salesman was making about $100,000 a year. I thought that was just an enormous amount of money.
You have to treat every hour of television you're given like a $100 million movie, and with 'A.D.,' we stepped it up even a stage further.
I wanted to do something that dealt with more of paranormal techniques that wasn't a horror movie. It is an action movie that deals with a special operations group. But if a Tier One team went in to take out Bin Laden today, if you had those kind of abilities, of course you would use that kind of group. And it was more going into that arena. And I wanted to make it feel more like, grounded, as if we had this ability.
Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.
When I first came to Oregon, the annual amount spent on production was $1 million to $1.5 million. By the time 'Leverage' was done, there had been over $100 million in production that year.
I just want to learn as much as I can, and that comes from the people I surround myself with. So whether that is on a one-million-dollar movie, or 100-million-dollar movie, it doesn't really matter.
The trick is to take risks and be paid for taking those risks, but to take a diversified basket of risks in a portfolio.
The noise you hear after people see something you do - whether it's a TV show or a movie - that always makes you see that thing slightly differently. Without question. The ability of a television series to make adjustments is something you've got to take advantage of. And test-screening a movie can be helpful too. But the part that can be dangerous is when you take those notes as gospel, instead of taking them with a grain of salt. The key is to use the response as one of the tools in your box, as opposed to using it to determine what you do.
We set up a beta site, a test site, with movie, music and book reviews. If you're reading them and you want to buy a book or a ticket for a movie that's reviewed on the site, you can do that without leaving our site.
America is a nation of 270 million people: 100 million of them are gangsters, another 100 million are hustlers, 50 million are complete lunatics, and every single one of us is secretly in show business. Isn't that fabulous?
I wanted to see if you could put a prototype radio station on the Internet so you wouldn't have to invest $50 million or $100 million or $150 million to buy a transmitter and a frequency.
I don't think anyone's worth $100 million if Michael Jordan wasn't, but hey, that's what Abe Pollin thought I was worth, and if someone puts $100 million in front of you, you're gonna take it, too.
I wanted to see if you could put a prototype radio station on the Internet so you wouldnt have to invest $50 million or $100 million or $150 million to buy a transmitter and a frequency.
You don't have to spend $200 million or $100 million to make a great movie.
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