A Quote by Tim Bevan

Scripts are what matter... if you get those foundations wrong, then you absolutely don’t stand a shot. — © Tim Bevan
Scripts are what matter... if you get those foundations wrong, then you absolutely don’t stand a shot.
Scripts are what matter. If you get the foundations right and then you get the right ingredients on top, you stand a shot... but if you get those foundations wrong, then you absolutely don't stand a shot. It's very rare-almost never-that a good film gets made from a bad screenplay.
There are those people who are in your corner no matter what, you can't do any wrong, even when you do wrong. And then there are those people that no matter what you do they are going to dislike you and that's not going to change.
One problem people have is that they lie to themselves. You may think you are more talented then the next guy. Which is exactly what the next guy thinks as well. Rarely is talent enough. You have to find ways to make yourself stand out. You do so by playing to your strengths and making people aware of those strengths. Always remember that no matter how many times you get shot down, you will get smarter, better and you only have to be right once to be successful.
For me, it was always survival. Learn where not to be at so you don't get shot. Learn where not to walk at so you don't get jumped. Learn who to stand up to, who not to stand up to. And then, when I got old enough to get a chip on my shoulder, I wanted to be the dog. I wanted to be the alpha.
Being on TV sucks. It's a lot of work. You memorize scripts and then you show up and they change everything. I'm a control freak. When I'm doing stand-up, I say what I want and then I get instant feedback.
I just like to build. Don't get me wrong: I think stand-up is great, and when someone like Richard Pryor or Steve Martin does stand-up, there's nothing better in the world. But I don't want to watch a lot of stand-ups for two hours. So I can do 45 minutes of stand-up and then say, 'Can we do something else now?'
It’s a beautiful, distinctive art, and shoes are like the foundations. If the foundations aren’t right, the building won’t stand upright, and if a woman’s balance isn’t right, nothing else is.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
The foundations of justice are that on one shall suffer wrong; then, that the public good be promoted.
My own mentality is that I've retired. They send me these scripts and if I absolutely have to do it, then I go to work.
The lyrics are a lot about those big questions: why are we here, how did we get here, what's the point, and what's next. When those questions come up with fans, I would absolutely share with them what has helped me and where I stand on what it is that I believe.
It took me 10 fights to get the damn interim title shot and then 11 to get an undisputed shot.
We've done things that are faster at times, but it's definitely different when we direct all the episodes because it's like we have to write them all, then shoot them all, then edit them all. So we have to just get ahead on those scripts basically.
It's nothing but a matter of seeing, thinking, and interest. That's what makes a good photograph. And then rejecting anything that would be bad for the picture. The wrong light, the wrong background, time and so on. Just don't do it, not matter how beautiful the subject is.
When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.
I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
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