Tim Roth Quotes

I'd always intended to make 'Far North' straight after 'The Warrior.' We had the rights to the short story, the script was in development, and I knew where I wanted to shoot it. It just took a long time getting the script together and raising the finance.

I think people really don't understand what a producer does versus what a director does. I mean, the producer is often the person that is on the movie the longest - it's their material that they are then bringing the director onto to bring it to the screen. Are we overlooked? Absolutely.

It's very hard to get a movie made. You could spend your life reading scripts that never got made.

An associate producer is the only guy in Hollywood who will associate with a producer.

By the time we got to MGM, and Lions Gate the movie was done there was nothing else to say. It was done. Just as at Universal, it was art by committee.

In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.

The film business has so many twists and turns that it's a miracle any film gets made.

I've been in the game long enough to know what elements you have to package together to get a movie into production.

When I went to Warner Bros., there was a woman named Bonnie Lee who was an executive who helped me to get to 'Pee-wee's Big Adventure.'

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

I really wanted 'NH10' to be made, and being associated with it eased the entire process.

Hollywood, at the bottom of it, is about money.

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.

There's no great technical expertise in being a movie producer.

What I learned from my go-round with 'In the Heights' is that it's tough to make a movie. In Hollywood, even the people in charge have people in charge.

Movies are an expensive business.

I loved doing casting because I love actors, and I am very conscious of what actors do. But I always wanted to be a producer.

By the time I was 10 or 11, I knew I wanted to make films.

The last thing I ever wanted to get involved with is Hollywood. The way it works is that people get an idea you could possibly do something, but there's a one-in-a-hundred chance that it could get made.

I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.

On 'Platoon' I was offered in 1984 a very tiny part that Ivan Kane would go on to play. Then the financing fell out, and the film was scuttled for two years.

I am no expert on tax; I'm a film producer. I read books and think about which ones would make good movies, and then I work with directors in order to make them.

I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

Movie-making is serious business. The director and the crew are already under a lot of pressure to give their best to the audience. Therefore, the best part for me as an actor is to act well in the movies and make a jolly atmosphere with the co-stars on the sets.