A Quote by Linda Chavez

The populist zeal to seek revenge on those who make a lot of money is targeted almost exclusively at corporations. I haven't heard outcries about Hollywood actors who make millions per film, even when those movies are a bust at the box office and the talent at issue has none. There's no outrage over athletes like New York Yankees third baseman Alex Rodriguez's $33 million salary or Celtic power forward Kevin Garnett's $25 million. Nor should there be. These are exceptionally talented individuals whose teams' owners think they're worth every penny.
You know what the bounty is on bin Laden? $25 million. It sounds like a lot until you realize the Texas Rangers paid $250 million to get Alex Rodriguez.
All this plan does is make everybody a capitalist. I know that the New York Stock Exchange says there are 25 million shareholders in the United States, but let me tell you something: about 15 million of those people could save their dividends for 10 years and maybe buy a new suit. That's not what I call capitalism.
I was worth about over a million dollars when I was 23 and over ten million dollars when I was 24, and over a hundred million dollars when I was 25 and... it wasn't that important — because I never did it for the money.
We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
I'm very pessimistic about that, no matter how hard we may try. The Chinese market is huge, but out of last year's $2 billion box office, $1.8 billion was taken in by foreign movies, and just $200 million by our own movies, no matter how much we have learned of their techniques, or their good practices. The Hollywood movies imported into China are all good movies; does the U.S. make lousy movies? Yes, too many lousy movies, but the imports are good films, so how can they not be box office hits? They're all hits.
Now while the German money is over for Hollywood, I still have $80 million to make movies, and we will have two things coming up: less major movies and the price for actors will go down.
Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
The videos that I post every day are averaging 7 million views per day. And I post one of those a day. I spend an average of $200 a day to make that. The Disney show that I'm on, they spend $2 million over the course of five days to create one episode that gets 1.7 million views.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
Yes, you can have art films about the triumph of the human spirit and all of that, but you'll have it done with a big-budget icon with a $20 million salary. You'll have Julia Roberts, you'll have Robert Redford, you'll have Russell Crowe doing those films, because if they're going to cost $90 million, they're going to make that movie for a public that's very large and mainstream. They're not going to make it for three or four million black people.
I don't think you need $35 million bucks to make a movie. I think what people should do is make a lot more movies for a lot less money. You can really do it.
I hadn't made a big-budget film, and in Hollywood there's a sort of man and boys situation. You're a man, you make $80 million movies! As if it's harder to make an $80 million movie. Well, I guess businesswise it is because you have more executives to argue with.
The Cable Guy was underbudgeted, so it was always a debate about whether we could have more days or certain things that we needed, because the budget was determined before the script was written. So that made it a hard production on everybody. But it's also a funny thing, because it's one of those movies that cost $40 million to make and made $100 million around the world, but at the time, it seemed like a disaster that it didn't make hundreds of millions of dollars, because Jim was on such a tear. But it was actually a successful movie.
They said, "You get $2 million to make the film, if you're not in it. If you are in it, you get $5 million to make the film." There was no way to make the thing for $2 million, so I made it for $5 million. And then, it turned out there was no way to make the thing for $5 million. That's when it got weird.
I've been defending myself since I left Minnesota. Because I didn't comply to what they wanted, then it was like, 'Oh, I'm selfish. I'm this. I'm that.' I'm like, 'How can that be? You were just about to give me $71 million! Who gives someone $71 million, and they're selfish, and they're jealous of Kevin Garnett and all of this stupid stuff?'
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