A Quote by Laura Ziskin
Most movies don't have the ability to find an audience. So the movie plays out very quickly in a lot of theaters to get the biggest gross. So that demands that we make things that are hits before they open. So they have to have the elements, they have to be franchises.
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When I make movies, I have a lot of respect for my audience. I think my audience is smart. If there's a way to be entertained and get things out - real things, not stupid moral crap - that's the best.
I hear a lot of, "We want to make a movie with you." Then "No, we don't want to make this one. We want to make that other movie with you." I don't really get that and it's very frustrating. It angers me. Because my movies are my movies.
Nowadays the movies that people are going to see in the theaters are the big-event movies, like Spider-Man or something, or they're 25-year-old models who are vampires, or they're very broad comedies, or they're standard action movies. So if you're going to work for a studio and do a movie for the budget that the movie needs, those are the kinds of movies you'll be in.
Today, you'll have a following for a film before it even hits theaters. We can reach out and touch our audience in ways that they couldn't. So it's about getting eyes, getting interest, and getting people involved.
Restoration is to some extent part of the digital age. These days, if you re-issue a movie in theaters or on Blu-ray, it has to be in high-quality condition: You have to restore. We plan a Paris cinema theater dedicated totally to classics. If we think there's an audience, we will release classics in theaters. People will discover that it's worth going to the cinema to see great movies of the past in perfect condition. I believe a lot in that.
When we were making 'Teddy Perkins,' we were playing with a lot of horror tropes and things you might've seen in movies before, but we get the ability to subvert expectations or get a comedic element out of a horror moment.
The biggest thing that will define my legacy is how I've done it, and what I've done, and who I am. I'm a weird big guy. Doing rapping, doing movies. Do a lot of stuff. But always do things the right way. Went to the police academy to become a police officer. Get his master's in criminal justice, stayed out of trouble. Played for three different teams. Changed three different franchises around. This is a guy who they would have secret meetings about to change the rules. So, that's going to be my legacy: the most dominant player ever.
Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.
Then you have these people in the movie theaters that talk the whole time during the movie. You ever go with somebody like that to a movie but you don't realize until you get there that you're with somebody like that? Brand new movie. First day it's open. You're there together and the entire time they're sitting there: Where's she going? Why'd he do that? Is he mad at her? I don't know, let's watch and find out together shall we? You know who you are. You're denying it right now: I do not do that. Why is she saying that?. What's she gonna say next?
I've always spent a lot of time in movie theaters, kind of absorbing anything I can. I just love sitting in the dark, and watching the flickering image up there. Just sitting in a movie theater alone is inspiring to me. It takes a pretty bad movie to drain the magic out of that - but Lord knows, those movies exist.
'Aashiqui' and 'Dil Hai Ke Manta Nahin' are great franchises to take forward. Both films were big hits back in the day. I definitely want to make these beautiful films into franchises in future.
High SQ demands the most intense personal integrity. It demands that we stand open to experience, that we recapture our ability to see life and others afresh, as though through the eyes of a child, to learn how to tap into our intuition and visualization, as a powerful means of using our inner knowing to “make a difference.” It demands that we cease to seek refuge in what we know and constantly explore and learn from what we do not know. It demands that we live the questions rather than the answers.
If I can sell out clubs and theaters and play dirtbags in movies, and get blown up in a car or get the crap beat out of me in a movie, that's good for me; I'm good.
I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.
A lot of quarterbacks have big arms and can make all the throws, but the most important thing is knowledge of the game, controlling the offense and, more than anything, limiting mistakes. Knowing what good plays to get your team into at the line of scrimmage and what bad plays to get out of.
I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.
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