A Quote by Todd Phillips
When you work on a movie or a TV show, you're a family, so if something that's a two-minute thing in the movie is causing a rift in the family, you also have to think about at what point do you fight this, and at what point is this rift worth having in this very small, very tight group of people who are just there to make something great and funny.
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Bypasses are devices that allow some people to dash from point A to point B very fast while other people dash from point B to point A very fast. People living at point C, being a point directly in between, are often given to wonder what's so great about point A that so many people from point B are so keen to get there and what's so great about point B that so many people from point A are so keen to get there. They often wish that people would just once and for all work out where the hell they wanted to be.
I try to make a film that's very entertaining, very funny, but also gives you something to think about. And the strongest thing I have to offer is my point of view, to get across how I see the world in hopes that it can change the way other people see the world, hopefully for the better.
I'm in a very close-knit, very, very tight family. My grandmother had 13 kids, so we had a lot of family like 50, 60 grandchildren and we all lived in Jersey, relatively in the same area. So every time there was something, my entire family was there. And I just believed everybody's family was like that.
But I just felt at one point that I was on a hamster wheel, you know? Just doing movie after movie and thinking so much about career related things and I think missing out on hanging with my friends and family as much I needed to.
When you screen it the first couple times, you're just trying to get the movie to work, trying to get the story to flow, trying to find out where your areas are where you have enough breath to laugh a little bit. So you're doing that the first two or three screenings, and then finally, you dial the movie in and it's working, and at that point, it's 50/50 as far as what's funny and what's working. Sometimes you'll put something in and it will just die so hard that it'll almost kill the movie.
We loved one another, man. I mean all those stories about the rift ... there was no question of a rift between Charlie Parker and me.
I have a family. I'm married. I'm very, very happy. I wanted to make a movie for my wife and a movie that speaks to what it is to be in a long term, very, very committed relationship because at the heart that's really what it is.
When you find something where you can give people a message and still make it an exciting movie, you get very, very excited about something. You probably even work harder than you normally do.
As people are showing the Rift to friends, word will spread that VR can be that good. So I'm not so worried in terms of adoption of the Rift.
What makes a good animated movie is being able to balance adult and knowing in-jokes and also just out and out funny things that make all people laugh. The idea that it's actually something that will appeal to a family, that's the trick.
You could say that Iron Man was a second-tier character, and it turned out very successfully. I simply think it's down to the movie itself, and whether people enjoy the movie, are involved in the movie, and that it entertains them. From that point of view, the movie has to stand alone.
There is something spurious about the very term 'a movie made for TV,' because what you make for TV is a TV program.
I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.
There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.
If you're going to play a hooker in a movie, the movie has to have the perspective, of course, that it isn't such a great thing. Probably the only way to really play a hooker well is to believe you're doing something that's good. But at the same time, the movie can't have that point of view.
People will love something very much or hate something very much. But the great thing about a sketch show is that if something comes along that you don't like, something else will come along in a minute that hopefully you might like that.
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