A Quote by Kyra Sedgwick
I can't get hired in a studio movie. Everything is so uphill.
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I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.
The more shows that are produced, the more writers are hired, producers are hired, actors are hired, directors are hired, it means the more people will get employed. It's better for the economy. It's a fantastic thing.
I tried to get Adam Sandler hired on a movie called "Brain Donors" and the producers wouldn't hire him. And a few years later, he was doing "Happy Gilmore" and he remembered I had fought for him, so he hired me.
I don't want to make studio films if I am constantly fighting to assert some kind of leadership within the process. I'm not hired to be a really nice person who comes up with solutions to problems now and then. I'm hired to be the director.
Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.
A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
Most things I get hired on, I get hired because I improvise something funny, or they just think I look weird.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
At this point, I don't get hired a lot because people don't think I could finance a movie.
Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.
The great thing about being an astronaut is you kind of get to do a little bit of everything. I mean, we're going to ride a rocket uphill.
The person who gets hired is not necessarily the one who can do that job best; but, the one who knows the most about how to get hired.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job.
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