A Quote by Roman Coppola
I would like to do more feature work. I intend to do that. To be really honest, it's an economic thing because when you make a film that doesn't make what it cost back, it's very difficult to get back in the ring.
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I wanna get back To the old days When the phone would ring And I knew it was you I wanna talk back And get yelled at Fight for nothing Like we used to Oh kiss me Like you mean it Like you miss me Cuz I know you do I wanna get back, get back I wanna get back, get back I wanna get back, get back Get Back
I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.
I was so lucky because I started working very young. And my father was very wealthy and I didn't need to work. I did my films. I was very well paid for my age, and I could make choices, decide not to do a film for six months and wait until I'd get the right thing. Which made me quite a coward, you know. It's so easy to say no to stuff, and then, after a while, it's very hard to go back in.
We see a lot of feature-driven product design in which the cost of features is not properly accounted. Features can have a negative value to customers because they make the products more difficult to understand and use. We are finding that people like products that just work. It turns out that designs that just work are much harder to produce that designs that assemble long lists of features.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
Rather than focus on trying to get a lot of customers to market yourself, really focus more on the actual product or service itself and existing users to, like, what would make them happier, what would make them come back more and more times or in our case buy more often.
Women, I think we can feel like we need to do it all and be it all. What's important is that we do the best we can, and just make time for yourself because when you do make time for yourself, you give back more as a mother; you give back more to your work.
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.
I'm incredibly proud to have been nominated in the past and it really means a lot to me because I do work very hard when I'm making a film and I do really do absolutely give my all. To get that kind of pat on the back, it's really amazing and also never something that I anticipated would possibly happen to me, ever. So I am very, very proud to have been there before. And, you know, the nice thing about nominations is that, same as awards, no one can actually take them away from you and I'm proud of that.
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.
I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
Paint is something that I use with my hands and do all those tactile things. I really don't like oil because you can't get back into it, or you make a mess. It's not my favourite thing - pencil is more my medium than wet paint.
Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.
I like to go back to Chinese film-making from time to time. I don't think I can make Chinese films back to back; it's such a big effort. I'd have to take a very long break.
I am a very honest person, and I can only say there are moments in my life where I really did think I was being me in the sense of my morals and beliefs and the way I acted. But when I look back at certain things that I wore and my hair and make-up, I was like, 'Whoa! That wasn't me!' But I didn't know it back then.
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