Rob Lowe Quotes

Who is writing these screenwriting books? Not actually writing for the studios in Hollywood. These are people that have one or a half of a credit on maybe one movie, or none. So they're all theoretical.

If I wanted to be in movies, I'd have gone into scriptwriting: the fact that I write novels should be a big hint about what I prefer to do!

There are always tons of names on a movie of people that didn't actually do anything on that film. I feel bad for the people that busted their ass because they get the same credit as someone who did nothing. It's kind of a weird thing.

I'm probably, if I might, if I stray I might write, go into screenplay or do something in film. Something like that but I think I'm pretty much going to stick to what I'm good at.

One of the reasons the producers' credit has been so weakened in recent years, and given to people who didn't deserve it, was that people didn't understand what producers did.

I know a lot of directors have a whole staff of people trying to find their next film for them. I always just end up writing mine.

We enjoyed such amazing success on Sex and the City. You don't expect success on that level, it was such a big deal, and it was so intense and wonderful that it is hard for anything else to live up to it, quite frankly. So now I just try to have fun and work with interesting people. I think that there is a perception that certain films won't be popular. So it was great that The Devil Wears Prada did really well.

I'm really loving acting. I want this as a career. I'll still write music and collaborate with people, but I'm focused on the acting path.

I find that when people get a script, they know within five pages if the writer can write. Once you're five pages in, it doesn't matter whose name is on the cover, you're not even thinking about it.

I think a lot of people don't take you seriously if they hear it's a video-game-based movie, and a lot of press people don't write about you. With BloodRayne, a lot of serious newspaper people didn't actually even see the movie. They went online to see other reviews, and then wrote their own. I think comic-book-based movies have a better image. We see it with 300, Sin City, Spider-Man - they are A-list features, and video-game movies are B-list.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Writing a good movie brings a writer about as much fame as steering a bicycle. It gets him, however, more jobs. If his movie is bad it will attract only critical tut-tut for him. The producer, director and stars are the geniuses who get the hosannas when it's a hit. Theirs are also the heads that are mounted on spears when it's a flop.

Working with people you adore and love. There's just a sense, all the way through all of the movies [Planet of Apes], that you're very rarely in a position where you have great material that you're passionate about and a big audience who love it, and the detail and nuance, and the exquisiteness of the fantastic actors and director with great writing.

Success for me is just having a job and have the studio feel confident that I can go out there and make a movie that people will enjoy.

I love Hap and Leonard and plan to write more about them, but not exclusively about them. I have always worked in film, or since the eighties, but my screenplays - though I got paid and did screenplays for Ridley Scott and John Irvin and Mark Romanek - seldom got made.

When you're actually making a film, it's just people on your back all the time wanting stuff and you're constantly having to it deal with them. It's probably the most time consuming of all the arts, but I do love it because it is a great mix of visual art and music and writing.

When I started out in the '90s, there were not many people of color writing, directing and producing - hence, the roles for people of color were few and far between. There's still few roles in England [where she's from].

I've learned so much from just being in film industry. I definitely want to stay in front of the camera and learn more from as many people as I can. Somewhere down the line, writing, directing and producing would be fantastic.

People say, 'What advice do you have for people who want to be writers?' I say, they don't really need advice, they know they want to be writers, and they're gonna do it. Those people who know that they really want to do this and are cut out for it, they know it.

The movies are one of the bad habits that corrupted our century.Of their many sins, I offer as the worst their effect on the intellectual side of the nation. It is chiefly from that viewpoint I write of them - as an eruption of trash that has lamed the American mind and retarded Americans from becoming a cultured people.

The main thing about awards in movies is that they can serve as an economic surge for the film. If you're movie gets nominated for any award it does it a big favour. People might go and see it again... they won't give up on it.

This business [moviemaking] isn't easy. It's a hard business. You just keep plugging away until you figure it out. You write something you love and keep banging on people's heads until somebody lets you do it.

Joe Roth, who ended up becoming president of 20th Century Fox, he was the producer of Our Winning Season. This was one of his first movies. It's just a really great, great little film, a lot of good people in it. I don't know whatever happened to that movie, and why it didn't get the success it deserves.

Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.

On these feature films there are people on the staff who can draw 100 times better then I can, and animate better then I can, and light better then I can, write comedy better then I can. I basically am in the middle of kind of a creative typhoon and I'm just kind of talking the film up on to the screen. Minute to minute, meeting by meeting, day by day.