Catherine Hardwicke Quotes

There are things that are happening way earlier than that when it comes to someone deciding whether they're going to spend x amount of millions of dollars on a movie. I want $100 million success. The moviegoer is the person I'm more interested in than the Academy.

If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?

My taste in films doesn't lead financers to think they are going to make a zillion dollars.

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.

Film-making, in itself, is such a risky, costly-yet-uncertain business that despite being wealthy, 90 percent of people don't become producers.

I would like to do more feature work. I intend to do that. To be really honest, it's an economic thing because when you make a film that doesn't make what it cost back, it's very difficult to get back in the ring.

I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.

People say you should do it this way, someone else suggests that, yes, there's financing, but maybe you should use this actor. And there are the threats, at the end - if you don't do it this way, you'll lose your box office; if you don't do it that way, you'll never get financed again... 35, 40 years of this, you get beat up.

Minority views expressed in films simply don't sell tickets.

I think they quite like me when I work because I'm one of the safer directors to back, because even if my films don't bring their costs in back home, once they're shown outside of India they manage to cover the costs.

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

I've never made a film that lost money.

I lost a year or two in there, trying to get films financed that I didn't know would never get financing.

I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.

It kind of irks me that the studio films still have to be so safe even though they don't really cost as much to make.

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 box office performance of a film is instrumental in an actor being perceived as saleable.

I am choosing films only to entertain people, but at the same time, if someone is putting their money into my films, I want that person to make money.

At the end of the day, it's a business; people want to make money. That's the intention with every film. It happens for some movies. For others, it doesn't.

The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.

I would never want to do a content-driven film with a box office life of Rs 20 crore.

If you want to survive in the film industry, it's not about fighting for your visions because that's a given. It's thinking about how much is your vision going to cost, and then, what are the consequences, because you may have $100 million, but the reality is that $100 million needs to make $500 million to be a success.

I figured, when I make a movie, especially earlier in my career, one thing I was going to make sure was that the movie doesn't cost a lot and that it has potential to make a lot of money. That's how you get respect in Hollywood.

Hollywood expects you to experiment but on a film that makes money and if you don't make money, you're to blame. Your job is to make money.

Everybody who's making the movies needs to work hard to make sure they're good. And if you don't show up and see the movies and support them financially, no one is going to make them. It's going to change unless it makes money. That's the long and short of it. You have to give in to the fact that it's a business.