A Quote by Robert Ben Garant
When I walk out of a movie that's actually good, I write emails to anybody I know who was involved with it.
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[James] Comey's got a good background but there's nothing there, so far as it appears. Nothing there. So he wrote the letter to the eight Republican committee members copied to the Democrats saying 'you know some emails have turned up, we've looked at a lot of emails now it turns out there are even more emails - we don't know what's there, so there's absolutely no evidence whatsoever that could be of interest to anyone until we conduct our multi-week, multi-month investigation.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
You can do a good movie, or you can do a good movie that can help people to feel the idea of what it is like to live. It can be good in an artificial way; it can be also a good movie for your own existence. You don't know that when you do a movie. You don't know if you succeeded, which is the most difficult thing.
Now I figured this out recently, pretty much if you ask anybody to be part of a movie, they get a smile on their face. They do! People are like, Movie! Ya know, I don't know. There's something that's magical about it.
Once I was in college, I was actually trying to write a comedy screenplay and I wrote basically the worst movie ever and just threw it away and never showed anybody. Everyone needs to get that first bad screenplay out of your system before you start writing other stuff.
I don't read good reviews. I like to know what percentages are going on. When Sony sends out something saying that people are liking the movie, I like to know that, but I don't actually sit and read the good stuff.
Sometimes I feel as if we are all trapped in a movie. We know our lines, where to walk, how to act, only there is no camera. Yet, we can't break out of the movie. And it's a bad one.
I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.
The problem with prime beef is that there are so many people out there selling offal. So you don't know when you're going eat a shitty gangster movie. Because everybody knows there's good stuff to be involved in.
I've personally been involved in movies where people on set were talking about awards for the movie, and I bought into the hype. And then the movie would come out, and not only was it not good, it was horrible.
You write a spec, and you pour your heart and soul and life into a spec, and you think that spec is the movie that's going to sell and get made... I've never heard of anybody that happened to. What happens is, you write a spec, people get it, they see your writing, they see you're good, they bring you into their office and they say, "Boy, that spec was really good - we'll never make that in a million years. We have rights to the board game of Monopoly. What do you think about a Monopoly movie?".
You never know if it's any good until people respond to it. You know how it feels when you do it, but there's so many things involved. The thing you do realize is, if the movie isn't any good, then it's your fault. That's what you think about.
When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.
We didn't make money but we never lost money. We'd sit around Times Square with fliers, walk around the Village and try and get people to come. Now you'd just tweet it, but that was the beginning of emails, or the beginning of me doing emails - I'm sure there were people in 1986 who were doing emails.
I think it's good for the fans, as well, because they get to connect with you directly. You know, in the old days, if I wanted to, like, write to (Steven) Spielberg or Sam Raimi or whatever, I'm not sure I could actually write a fan mail and (I'd) have no idea where to actually send it. Nowadays, you can just, like, follow Ashton (Kutcher who still has among the most followers on Twitter) or, like, friend someone, you know, on Facebook, and you can actually just say, "Hey, I like your stuff."
I am not a writer, but I have been told I write good emails.
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