I was familiar with 'Addicted' for a long time, even prior to the movie, way before it got the greenlight. And when it finally got the greenlight, I was very happy to be a part of it.
I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.
Greenlight is a bad example of an election process. We came to the conclusion pretty quickly that we could just do away with Greenlight completely, because it was a bottleneck rather than a way for people to communicate choice.
A perfect movie is a different thing, but a funny movie is easy. I was really happy that I got everyone that I got. Everybody got to play to their strengths and was paired up in the right scenarios. It was very fortunate. It was exciting, the whole process. It makes more difficulty in editing 'cause there's more footage, but the guy I had handle it was a documentarian editor for a long time, so it was very useful.
It seems like studios and networks only greenlight stuff that has familiarity to them. If you can be like, 'Oh, it's 'Workaholics,' but it's Asian girls,' they're like, 'Yeah, we've got it. We know exactly what the show is. It's greenlit.'
It rests in the hands of 'Dreamgirls' and 'Hairspray.' If they're successful, we'll be back on track - people will continue to greenlight musicals. If they don't work, then you're going to see everyone go back to the way it was before 'Chicago.'
Even when a pilot goes, you shoot it in March or April, and then you have to rush it through post-production by May. If they greenlight it, then you go and there's no time to think about it. And then, you've gotta start shooting in July, so you're off to the races.
I wrote a screenplay for 'The Witches,' which Alfonso Cuaron was producing, but we couldn't get it made! The studio just wouldn't greenlight that movie. It's my favorite Roald Dahl book, 'The Witches,' because I grew up with my grandmother a lot of the time, and the relationship between the boy and the grandmother speaks volumes to me.
I don't want to only make the movies that studios will greenlight.
There were a lot of races I was going to win at Milwaukee, but I had mechanical problems or something would happen, ... In the early years, it just took a long time for me to win a race. I got in somebody's oil one time and got in the wall, had a clutch go out once. . . so when I finally won one, it was a long time coming.
At the end of the day it's got to be a good movie, it's got to be a funny movie, and it's got to make people think, 'Hey, I couldn't have spent my time any better.'
You're asking if I'm happy? I've got 87 million in the bank, I've got a Rolls Royce, I've got 3 stalkers, I'm about to go on the board at Manchester City, I'm part of the greatest band in the world. Am I happy with that? No, I'm not! I want more!
I got told so many times I needed a manager. For a long time I resisted, and I finally got one so I can pay my mortgage, and it helped me from becoming a homeless person.
When I was looking for financing while making 'Hellraiser,' I wish there was a studio like Project Greenlight Digital Studios behind me.
I kind of got really lucky a couple of years ago: I got to do a part in 'The Descendants,' in Alexander Payne's movie. I just had a small part, but I got to do a few scenes with my best friend George Clooney.
Most books germinate within you for a long time before they are ready to come out. I wrote several drafts of the novel over many years and when I finally got to the last one, it didn't take much time.
Yes, yes, I'm very happy that I finally got through this match, beat No. 7 in the world. It's my best win so far. So I'm really happy the way I play today and felt really strong on the court physically, mentally.