A Quote by Taylor Lautner
When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.
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The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.
I don't really like those sorts of actresses who say, 'I don't want to make that movie,' but they make the movie. They just spend their time not liking being on a set and I just think it's absurd, because we are so lucky to do this job. When you accept to make a movie, just make the movie. And then it's more easy for relationships.
I tell everybody on the first day of making a movie that if anyone's here to further their career, they should leave. I'm gonna make the movie in such a way that we won't have a career when this movie comes out. Because the people who hold the moneybags are not going to want to share any of that money with us to make the next movie!
I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.
When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.
People call me a movie star. If you're in the business, a movie star is someone who can make a film bankable. My name and $6 million will make a $6 million movie. I'm a working actor. Because I started late, I had a very short run as a leading man, and my films didn't make money in America.
When I did 'Mimic,' it was such a difficult experience to try to make. Believe it or not, I did try to make a really adult giant bug movie. And then, in the course of the process, it kind of died a horrible death and gave birth to the movie that exists now, which now, in retrospect, I like. But it's not the movie I set out to do.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.
I figured, when I make a movie, especially earlier in my career, one thing I was going to make sure was that the movie doesn't cost a lot and that it has potential to make a lot of money. That's how you get respect in Hollywood.
When I make a movie, I just make the movie. I don't think about the success of it. If it becomes successful, that's an amazing treat. If it doesn't, you had a great time making it and you learned from it, and then you make a new thing.
It's so hard to actually get the money to make your movie. When you actually have the chance to do it, you have to be absolutely ruthless in order to make the best movie you can make.
What we do is service a story first, and then you figure out how to pay for it later. If the narrative isn't your primary focus, then the movie is going to become diluted, and you don't have a movie that is as good as it could be, so it probably won't make as much money.
It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.
Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.
I remember a lot of conversations where I was constantly hearing, 'You've gotta do this movie so you can do that movie. You've gotta make a big movie so you can make a small movie.' But I can't act like that.
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