A Quote by Rebecca Eaton

Anybody who pitches a story or an idea for a film to an executive, whatever the latest hit is, is what you're comparing it to. — © Rebecca Eaton
Anybody who pitches a story or an idea for a film to an executive, whatever the latest hit is, is what you're comparing it to.
There are certain things I can't do, certain pitches I can't hit. You stay away from them. You try to wait for pitches you can hit. The bat speed isn't what it used to be. You make up for it by using your head, working counts, getting ahead in counts and getting pitches to hit and hitting them hard.
Sometimes you go to home plate, and you have an idea, like a clear idea, of what they're going to throw to you. I think that's all: getting better pitches to hit, realizing when you hit the ball better, what pitch you hit, if you're chasing too much. If you figure out all that, you can get a little better as a player.
Even if I was tipping my pitches, I could have thrown pitches good enough to not be hit.
More than comparing with somebody else, I'd prefer comparing my own work from film to film.
A film, I feel, is a state of mind. A film eventually comes from an idea: based on an idea, you make a decision, and once you make the decision, you keep comparing everything to that, but don't question the decision itself.
When you prove you can hit, you get tough pitches to hit. And then you got to prove you can take them. And when you prove you can take them, they'll give you pitches to hit. It's back and forth, back and forth.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
Be ready to hit; get good pitches to hit.
Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.
It is not about whether you are an executive, a studio or a network. If you have a story or an idea you can build a following for it.
My biggest thing is I need to see a lot of pitches, which I did today. That's good. The more pitches you see, the better your timing is going to be. But it's going to be impossible to see enough pitches. No matter how many pitches you see, it's still going to be March 6.
Thank God, 50 years ago I learned that our entire business is all based on two things; a great song and a great story. Film, television, if you don't have that story, nothing else matters. You don't call anybody else or direct anybody. The same with a song. A great song can make the worst singer in the world a star.
He doesn't like to be hit. Not that anybody likes to be hit, but Brock for whatever reason has shown much more of a dramatic response to the negativity of those shots. To the point where he's not asleep, it isn't like he got knocked out, he's not getting dropped, but he just turns his face away from adversity.
I turned in a script that meant a lot to me and an executive at Warner Bros said he was disappointed in me. I took a hit of confidence and stepped away from film-making for some time.
There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
I'm a different hitter than Chipper Jones. He goes up looking for certain pitches to hit. I go up there looking for something over the plate and try to hit it hard.
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