A Quote by Rupert Everett

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.
I assumed a business like a film studio would behave like a business and still want to protect its own interests, still do the best it could to get as many people paying for as many of their movies as possible. I realized this is not actually a business about business: it's a business of egos and dominance.
I've made some great movies. 'Risky Business' still stands up. It's timeless. They study that film in film school.
The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.
When I was a young actor, I just didn’t understand how to function in this business as an artist. It is a business, it’s called the film business for a reason, there’s money involved ... But on the flip side, now I do not let the business side of it rule either. It’s a balance.
The reason why bookstores are going out of business in the States is that people just can't focus on longer narratives now - even narrative film is in crisis in many ways, unless it's an adventure film.
Sometimes film is just the family business. Some families are generations of carpenters or farmers, or they make clothes, or they're all lawyers. I'm in the family business.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.
If I wasn't a trader, I would probably be in the film business in some capacity and writing in some other form. I went to NYU Film School and London Film School.
I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.
I've done very well in the film business. Whenever I have wanted something, the film business has given it to me. I'm very fortunate. My big problem in life has always been, 'What do I want?'
It's arguable whether a hit song is gonna add to the business a film does. There are plenty of films that didn't do any business and sold a million albums.
For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.
I always loved movies as a child, and I love story. I got my degree in English. Film and story seemed, to me, the vector of the movie business. I really didn't know what 'the film business' meant, but I decided I wanted to be in it.
As a woman, absolutely, I have had to deal with people making advances at me, but not just people from the business of film industry but people across different professions and different strata. I think it has a lot to do with power; it is not only limited to the film business.
I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.
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