A Quote by Jimmi Simpson

I don't know anything about the business side, but I know it's a very, very expensive decision to make, to put production on hold to make the story as good as possible. — © Jimmi Simpson
I don't know anything about the business side, but I know it's a very, very expensive decision to make, to put production on hold to make the story as good as possible.
Finally, you're right about one point, your entire way of thinking is predicted by what you're immersed in so you know you won't make a bad decision. You can make a bad decision but it's still in the good sphere normally if you work well. You're prepared to face a crew who wants to know everything and poses a hundred questions a minute, because you know you have good reflexes and can respond very quickly.
It's very, very rare you find something really original and also because a lot of original stuff, most of the time has no chance, because it's so expensive to make something famous or put it in people's head that it's the one to see, it's like awareness has to be almost like at 80% or 90% if you make an expensive summer movie and that's very hard to do with anything an the White House naturally is in itself some sort of a trademark.
All I can do is put out the good stuff, and people will make the decision on whether they like it. My fans are very intelligent people. They're not stupid. They know what's good.
I knew I wanted to make a movie that looked decadent and expensive. I knew we would have to make every penny stretch and put as much of the budget onscreen as possible. So it starts with your heads of departments - your production designer, costume, hair and makeup designers. Picking the right people who were as committed as I was to telling the story as I was.
The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.
If someone wants to make very, very original music that no one has ever heard before, you shouldn't know anything about music. It just narrows you down, you know?
The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.
It is not always what we know or analyzed before we make a decision that makes it a great decision. It is what we do after we make the decision to implement and execute it that makes it a good decision.
I want to make sure that teenage girls know that if you decide to keep your child, you have to get an education. You have to have a plan A, B, and C. Make sure you have a good support system. If all those things are not in place, it's going to be very, very hard - very, very lonely.
The notion that somehow or another they'll (Iran) put it in a picnic basket and hand it to some terrorist group is merely an argument that may be convincing to some people who don't know anything about nuclear weapons. I don't find that argument very credible, I'm not sure that people who make it even believe in it. But it's a good argument to make if you have no other argument to make. The fact of the matter is, Iran has been around for 3000 years, and that is not a symptom of a suicidal instinct.
If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.
I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.
What matters is that our country is strong and respected and safe. We really are, you know, a very good country. We make our mistakes, but we're also very, very strong. And so I don't know. You know, I hold grudges. But I do believe in the process. With all my heart, I believe in the process. And I believe in our country.
In Europe, where we have all these different forms of financing and cultural funds and systems like that, it's a good mixture of supporting artists to make movies. But, on the other side, everyone still wants to make money making movies. Again, even in the European film business, it's expensive to make movies.
I do believe in the myth of San Francisco and there is a force, a magical kind of thing there. That feeling of like, I've never been to another place like it. It doesn't even feel Californian. Even how it's laid out physically, it's very strange. Like, the weather patterns don't make sense. They do scientifically, but in a practical way it doesn't make any sense. And that weirdness, it really creates some weird thing in the air. But it is you know, on a practical level, it's very expensive, and it's a very business-oriented place, too, and there's a lot of that stuff going on.
I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.
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