A Quote by Vikram Bhatt
Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.
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If there are no stars in your film, nobody will look at you. If you have Sunny Leone in the film you will get hundreds of dollars but if you have a honest story to tell it's difficult to find producers.
Jokes apart, people are constantly asking me, 'What are you doing for the industry?' When one makes a blockbuster, you plough back money into the industry. If my film makes 100 crore, I'm not taking the entire sum home! It gets distributed between the exhibitors, distributors, producers and actors.
The vast majority of our film producers are independent producers who live hand to mouth trying to get projects made that they love. They are not owners, they're not money people, and in fact, those who just have the money don't always get a producer credit.
New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.
When something is based on an iconic film, and we found this out with "The Producers" too, you've got to pay homage to what I'd call the greatest hits. ... People expect certain lines and moments they love.
People behave differently to TV stars and film stars; it's to do with the scale of the medium. Film stars get hushed awe, TV stars get slapped on the back. Neither is good for you. Famous people don't hear the word 'no' enough.
Broadway producers are happy to have a big Hollywood name they can post on the marquee, but most of them assume that television and film stars really can't handle stage work. Too often, they're right.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
I'm friends with many actors across the southern film industry, who've been my co-stars, too, and with whom I share a great rapport.
We have a conservative government that only thinks in terms of efficiency. They are spending a lot of money on military expenses and less and less on culture. My position is that culture can actually be economically viable. When I make a film, the film costs $3 million. Now, in Quebec, it grossed $3.5 million, which is a small film. It's not a comedy. There are no stars in it. And, it still grosses $3.5 million. That's just in Quebec.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
That is simple. In the Colonies we issue our own money. It is called Colonial Scrip. We issue it in proper proportion to the demands of trade and industry to make the products pass easily from the producers to the consumers. In this manner creating for ourselves our own paper money, we control its purchasing power, and we have no interest to pay.
I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Producers - we always think, "Well, producers are very powerful," but producers don't really have the power. It's the appearance they might, but they don't. Even the actors don't. Even the studio heads don't, because they're beholden to this corporation and what the corporation wants. So no one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.
The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
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