Ryan Reynolds Quotes

I'd love to have done 'John Carter.' I'd love to work for the Disney Corporation.

Harvey [Weinstein] didn't want to release [MY SON THE FANATIC]; he held it for two years because he wanted a happy ending, although I don't know what that means. Does that mean the taxi driver leaves his wife or doesn't leave his wife? I think it has a happy ending.

There is quite an important director in Germany who I think in the early fifties over here, and then went back, and he said something that's absolutely true. And it's more important to repeat that today than it ever was. Not for you, but for us over there it is important. He said, 'In America they make movies like art, and sell it like commodities. We make make movies like commodities and sell them like art.'

To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.

If you really spend time with movies, it's three years of your life from beginning to end. I started out planting the seed with 'Monster's Ball' about independent cinema and raising money and that whole thing as a producer, and then it becomes easier for me.

Movies are great fun and wonderful when they're good. But you never get to see them till six months after they're finished. So you never get a sense of whether they're really well liked or how good they are. And you don't really know what the finished product is going to be like, because it's a director's medium.

When you work in film, you learn to appreciate a distributor. You can have this great little film, but if you don't have a distributor, you are sitting in your living room with a great little film.

Big studio comedies are such a headache.

The fact is, it's hard to release movies.

The journey of your first movie is not just beyond belief it can be truly beyond satire.

It isn't glamorous until after the film is finished, and you are at the premiere and getting your picture on the cover of magazines.

The traditional Hollywood system is pretty rigid, but the film scene in, say, South Africa is booming with a lot of possibilities. If you have the cameras and reasonable capital, you can put your film in theatres next to 'Guardians of the Galaxy.' A great example of that was Kagiso Lediga's film 'Blitz Patrole.'

Sometimes it's very difficult to do a movie that's good and then have that movie make it to the light of day.

I want to write a studio movie, but probably one that's for me to be in.

'The Blind Side' took forever to get it out of 20th Century Fox in turnaround. It was one of three different movies I was involved with then. 'The Blind Side' just happened to be the one that got made.

If my films did better at the box office in Japan, it would be easier to get them made.

Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.

We make films because cinemas exhibit it, and they exhibit as we make films.

In Hollywood, the system is so streamlined, the administration is in place. That's why every six months Spielberg is able to make a film.

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.

Ultimately, the goal is to be on an annual cycle - releasing a film every year.

In Bollywood, they've got their systems in place. It's a monster machine that's churning out, like, 400 films a year, consistently. They're able to efficiently process things.

I think, it's important to understand how to release a film.

I didn't even think anyone would want to make 'Cop Car,' and then I didn't think anyone would want to distribute 'Cop Car,' and then I didn't think anyone would want to see 'Cop Car.'

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