A Quote by John Wells

Producing small films, you usually have four or five people you want, and you hope one of them will say they'll do it. — © John Wells
Producing small films, you usually have four or five people you want, and you hope one of them will say they'll do it.
I want to be liked... No, I want to be more than just liked... I want people to say, "that Charlie Brown is a great guy!" And when people are at parties, I want them to look for me, and when I finally arrive, I want them to say, "here comes good ol' Charlie Brown... Now everything will be all right!" I want to be a special person... I want to be needed... It's kind of hard to explain... Do you understand? I mean, do you know what I'm talking about?" "Sure, I understand perfectly..." "Well?" "Forget it! Five cents, please!
There are maybe four or five teams who will pay whatever they need to pay to get the player. They are huge sums, but that is the world we now live in - when one of those four or five teams want a player, then they usually get them.
I always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times, I'm wrong, but it's always the hope.
It is still true that the life we have created for ourselves on this earth is not working. Not one of the systems we have put into place in our world is functional - not the political, not the economical, not the ecological, not the educational, not the social, and not the spiritual. None of them are producing the outcomes we say we want. In fact, it's worse. They are producing the outcomes we say we don't want.
I hope I'm always lucky enough to be able to work in theater, TV, and big films and small films. I think there's advantages and disadvantages to all of them. The fact that this was a small film without much money and without much time made it rich in energy and momentum and drive when we were actually making it 'cause that's all you've got. You've just got the story and the people.
I want to only be part of films that are worth my time. I give my heart and soul for four-five months and I don't want that to go in vain.
I cannot prevent anyone from getting angry, or mad, or frustrated. I can only hope that they'll turn that anger and frustration and madness into something positive, so that two, three, four, five hundred will step forward, so the gay doctors will come out, the gay lawyers, the gay judges, gay bankers, gay architects I hope that every professional gay will say 'enough', come forward and tell everybody, wear a sign, let the world know. Maybe that will help.
There will be, in the next generation or so, a pharmacological method of making people love their servitude, and producing dictatorship without tears, so to speak, producing a kind of painless concentration camp for entire societies, so that people will in fact have their liberties taken away from them, but will rather enjoy it.
A good deal of my effort goes into the selection of films, because these things cannot be just predicted, so I am careful about the movies I finally do. Next year, too, I will have four or five films where I play different roles.
The whole world population rests on women. You have to start with the woman. And the woman will make her own decisions. If you want to have five or ten children, fine. You can have big families or small families, but you have the family you feel you can afford or feed. In China the one - child policy is already finished - on its way out because the economic conditions end up producing the same effect. If people want an expensive flat in a place like Shanghai, you can't have more than one child or two.
I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.
I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
I have done a lot of short dramas that are three, four or five episodes and so that makes the filming process similar to the independent film process; it is very intimate, and it is a small cast and a small crew and everyone is there with a common goal and want the best for that project.
I sometimes hear people say women don't want to direct studio films, but I do. I want to direct big films, little films, TV. I want to do it all.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
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