Scott Rudin Quotes

There are a lot of different elements in play when you're remaking something people care about.

Most great plays of the past lose their grip on immediacy; on application to our lives right now.

Whenever you do a new interpretation of a great, previous text of any kind, you always look for some kind of immediate significance right now.

I think plays deserve other interpretations. They should live on, and other people should should take their hand at them. I'm very supportive of that.

Every trick is an old one, but with a change of players, a change of dress, it comes out as new as before.

It's 2009, things change. I'm a creature of habit, so in the beginning I wanted it to be as much like the original as possible, but that's not reality. And reality is, this is a new generation, and people want to see 'Witch Mountain' again.

An old thing becomes new if you detach it from what usually surrounds it.

Any scene in Shakespeare can be vulgarised almost out of recognition with the wish to have a modern concept.

When films are remade, it often becomes a big deal. In theater, it's called a revival.

In my mind, I'm no longer daunted by the idea of a remake. In fact, I now look at it as a genre unto itself - so long as you make it your own.

When doing a remake, you're on safer territory. You know you cannot go absolutely wrong. But how right it goes depends on various factors like casting and the way you adapt the film.

Remakes are happening for a long time, and it is happening in the West, too. I don't believe anything is wrong in that.

Classics are constantly being re-imagined and transformed, and the originals are none the worse for it; they endure.

I'm not a big fan of remakes. I never wanted to do a remake.

In order to keep anything cultural, logical, or ideological, you have to reinvent the reality of it.

No, we've been performing our old songs a little differently each performance.

We took Beowulf, the epic poem in Old English, and put it right together with John Gardner's contemporary retelling. If you bring it into today, we really feel that it has something very fresh to say now.

Shakespeare has always been up for grabs, and choreographers have every right to use him any way they choose.

I'm inspired when I find out about something that I didn't know was a remake. An example is, of course, stuff like 'The Fly,' or 'The Thing,' or even 'The Blob.' For our generation, all those things, whether it was 'The Blob' or 'The Fly' or something else, we had no idea they were remakes.

I have to try and change the landscape, whatever it is.

Every 10 years you're a different person, and the really great books evolve with you as you get older. They're full of new rewards.

Obsolescence never meant the end of anything, it's just the beginning.

I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

When I wrote 'Noughts and Crosses', I was halfway through it when I realised this was very like 'Romeo and Juliet'... as long as you make it your own, and put your own spin on it, I think it's brilliant to use other great work to find your own voice.

It's not a master plan to do every remake and every recreation of icons. It's just what I've been hired to do.