Kenneth Tynan Quotes

Trying to convince Warner Bros. to make a $30 million 'Veronica Mars' movie just wasn't going to happen, for understandable reasons.

Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.

If you want your film to be instantly green-lit, your first approach is not to go to a relatively unknown English actor. They're not going to throw millions of dollars at you for that.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

It is not like casting me in your movie is going to help you get financing.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

It often takes a couple of years to get a script right and then takes a couple of years to get financing together.

When you do bigger films, the financiers take more risks.

We shot ten minutes of the movie, and now we're looking for completion funds.

I never think about the budget of the film.

There's always a concern over budget with film too but people are more extravagant when they're making a feature. In television everything's tight, everything's paired down and it's just a question of making it look expensive.

You cannot believe how hard it is to try and raise money for a film. I did it for six years and it was such a failure.

I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.

OK, the director makes the movie. But some movies can't get made without someone like me in them.

For years, my job was to make the movie inexpensively. And I could bring it in. What I can't control are the costs of marketing.

You read a lot about movies with budgets of $25 to 30 million. Hell, if a studio can piss away that kind of money, why not let 'em piss on me?

The bond company comes in if you exceed your costs; they're the insurers of the film. In the worst-case scenario, they take over the production.

I bow down to the altar of genre, because it allowed me to get 'The Witch' financed.

When I was pitching 'Hooligans,' with a budget of $15 million, most people said they don't want to see a picture about soccer thugs.

The good thing about feature films is that the budgets tend to scale.

I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.

When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.

The bagel budget for 'Sex and the City 2' could pay for 'Ghosted.'

At the end of the day, there is a lot of money that gets put into films.

Sonali Cable' is not a low budget film, it's a normal budget film.