A Quote by Orson Welles

The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
I don't want to criticize any other designers, but I have to say that many of the people involved in this industry - directors and producers - are trying to make their games more like movies. They are longing to make movies rather than making videogames.
I want people to see my movies. My talent, my sensibilities are what people want to see in the movies... While I have the talent to make the kind of movies people want to see I want to continue to do that, keep making big pictures and make what I love. I’m really just making the films I want to see. There’s not a strategy.
I tell my students based on my experiences in Hollywood, sure, you can always move to L.A. and try to work with the system, and people do that, but chances are if you want your story in film with characters of color, you will have to make that movie yourself. Find a way to make it yourself. Not just screenwriters, but also producers.
Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.
Look, I want to be able to make the stupidest movies ever, because they make people laugh and they make money. But that's not all I want to do. And I think I've proven to some people - the ones paying attention - that I can do more. Everybody else, well, they can wait and see and make up their mind.
I do not like people writing songs and then other people singing them. A lot of people don't even sing their own songs anymore. It's like producers these days have ghost producers; 'I don't produce, but I am a producer.'
What you realize is it's not about financial success as an artist. A lot of actors and actresses, producers, writers, and the creative people in the business realize that. It's not about that. Yeah, we all want to be successful, but we all just want to create and we want to tell the stories. We want to continue creating the opportunities to be able to continue doing what we love. So, at the end of the day, I feel like it's a win-win for everybody to be able to make these independent films.
I want to make movies - and I want to portray characters - that make people think. I want to make movies that have a redemptive message. I want to tell good quality stories and take out the derogatory sex, violence and language.
Tonally, there was no discussion; I just don’t know any other way to do it. I don’t want to make people feel bad, and I don’t want to make their problems into a joke. I do love telling people when they’re right and wrong, but for the most part, it was always going to be about real fights where people have a real difference of opinion and a real dispute. I want to make jokes, but I also want to make a decision that is fair.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
When you want to make a film abroad, you need producers and people who support you. You need a team that speaks your language.
When you say, 'Man, what kind of music does Outkast make?' You be like, 'They make Outkast music.' What kind of music does N.E.R.D. make? They make N.E.R.D. music. I want to be one of those people, because there's so many layers to the music I create that I don't want people to expect me to do one thing.
I didn't want to just be an analyst for women's basketball and volleyball. I didn't just want to be a sideline reporter. I didn't just want to be a host. I wanted to be someone that my producers or coordinating producers could call on me for any event, any subject matter or any role.
I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.
I feel like you have to earn something with an audience. If I just did it now, I think producers on any superhero movie, I think they wouldn't trust me to do it the way I'd want to do it, because I'd want to do something basically really strange. I think you have to earn that freedom to do stuff like that. So I think, if I keep kind of chipping away, trying to do good movies and interesting, strange movies then people will eventually trust you to do that on a bigger scale.
I want to make people think, and I don't want to come across like I am egotistical or that I want to change people's thoughts. I don't believe that as a comic I can convert anyone's opinion. I think I can maybe make someone look in one direction or the other but I can't make a religious person stop believing in God.
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