Milos Forman Quotes

If it's commercial and it makes sense we'll be doing it - whatever it is.

Once you make a studio 700 million dollars or so, or whatever the insane number is, then they finally seem to trust you, no matter how off-the-wall your project is.

The good thing from my perspective is that nobody puts any pressure on me to say what it's going to be. The backers accept that they don't know what they are going to get.

Your goal is to achieve the best results by following their wishes. If they want you to build a house upside down standing on its chimney, it's up to you to do it.

What I invest in, while not risky for me, may be too risky for most people.

Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.

I need to have a great deal of control and the ability to share my control with my collaborators and grant them the freedom and the quality of work I think these people deserve. If I don't have those elements, I walk away.

I won't sign a film thinking, 'Oh my God! I don't have a film so I've got to sign one real quickly.'

I think people overestimate the risk of high-risk projects.

Not taking a risk is a risk. That's how I see it.

I had complete freedom. They [Netflix] knew roughly what I was doing.

There are certain directors where you know you're going to be good or you're not going to be there. There are people where you kind of know that if you miss the mark then it'll probably not be in the movie and that's very reassuring.

I don't believe in taking unnecessary risks, but a life without risk isn't worth living.

Larger game teams are often a bit more experienced at working with writers, which is often a huge relief. However, it also means that there are more people wanting to wander around the narrative kitchen telling you how you should be making your story pies.

When you're working with an object, you can put in almost anything you want, you can make it abstract.

Extra interest signifies extra risk.

Everything involves a risk. No risk, no reward.

I like to let the actors work the way they want to.

I've relaxed my feelings about other companies performing my works. I have never in principle been against my ballets being danced by other companies. Rather, it is that we lack the time, space and money to insure that they are done well. To me, the only sin is mediocrity.

If you want the most reward you have to take the most risk.

I will not allow anyone to take anything off my palette but if I do then within that, I can be creative.

The writers could always do an about-face and change everything

I'm not precious about anything. The effort it took to get something means nothing to me in post. It means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.

You have to look at the body of work you're doing and then figure out the best way for people to digest it. You want people to come in and listen to all of it and understand the entire project. I think it's bad when everyone's like, "This is how you have to do it."