A Quote by Jon Spaihts
Once you've written a good script, it will get made or not get made, according to variables you cannot control, like stars getting interested, and the superstitions in Hollywood rising or falling around what is over and done with versus what's in.
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It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on.
It is so hard to get movies made in Hollywood that you got to have six going at once, and you know, probably none of those get made.
I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
You can't ask the guy with the checkbook to always be the person. So, we actors have to try. And believe me, it's not just young people who are struggling with this, trying to get things of substance made because of the proliferation of technology that it's just harder and harder to get things that really matter made. But they are being done and you just have to fight the good fight and try to... if you have something that you have written, you have to do your best to try to get it made in whatever way you can.
You get the idea. Every business, like a painting, operates according to its own rules. There are many ways to run a successful company. What works once may never work again. What everyone tells you never to do may just work, once. There are no rules. You don't learn to walk by following rules. You learn by doing, and by falling over, and it's because you fall over that you learn to save yourself from falling over. It's the greatest thrill in the world and it runs away screaming at the first sight of bullet points.
Too many people are surfing the web and trying to figure out the politics of getting a movie made or taking meetings and trying to get someone to read something instead of creating a truly great script, because something great has a great chance of getting made, but something average that you've sort of talked people into reading doesn't have as good a shot.
I was in the Virgin Islands once. I met a girl. We ate lobster, drank piña coladas. At sunset, we made love like sea otters. That was a pretty good day. Why couldn't I get that day over and over and over?
The kind of films I want to make are struggling to get made. And if they are getting made, they're getting made on shoestring budgets with not enough time.
Over the years, I discovered over and over again that once you lose control, you have a chance of getting good at it. And once you're controlling the work, it's not going to be very good, or it won't be as good as it should be.
It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.
Crushed to earth and rising again is an author's gymnastic. Once he fails to struggle to his feet and grab his pen, he will contemplate a fact he should never permit himself to face: that in all probability books have been written, are being written, will be written, better than anything he has done, is doing, or will do.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
I don't really make films in Denmark. 'Bronson' was shot in Rottingham, 'Valhalla Rising' was made in Glasgow, and 'Drive' was made in Hollywood.
Men, women and children too, ran hysterically, falling and stumbling, getting up, tripping and falling again, rolling over and over. Most of them managed to regain their feet and made it to the water. But many of them never made it and were left behind, their feet drumming in blinding pain on the overheated pavements amidst the rubble, until there came one last convulsing shudder from the smoking 'thing' on the ground, and then no further movement.
People talk about Hollywood as a myth, but in reality, when you make Icelandic movies and you want to get them distributed in the U.S., you're not really working with Hollywood. The movies I've been making, the first one I made, I made it with Working Title, but it was financed through Universal, so it became a Hollywood production.
I didn't want my script to get too out of control like that. So I actually made it a point not to do stuff like that, to pretty - to keep it more sparse than it's been in the last few years, or the last decade.
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