Drew Daywalt Quotes

My dad brought 'Clerks' to Sundance 22 years ago, and that's when his career started.

I got paid 20 grand for my first film. And that's the lowest I ever got paid.

You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.

Sundance took me on my first film and from there sort of launched my career.

I met Jill Soloway at Sundance a couple years ago. I was there for 'Crystal Fairy', and she was there for 'Afternoon Delight'. She reached out and wanted to get together.

If you sell the film rights to your book, it doesn't mean there will be a film. I have sold the rights to five books and had zero films made. Take the money and be thankful.

J. J. Abrams is a director that I've admired for a long time, from the very first scripts he wrote - including 'Regarding Henry,' which I was in.

Well, I see myself in the same business but a lot more successful and doing more movies maybe behind the camera. I plan to do some growing in this industry and take it as far as I can.

Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.

I grew up right near Hollywood, and I wanted to be a filmmaker.

It's true, I'm the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesn't care. That's good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. It's about finding great scripts and bringing them to life.

Doing anything on a movie at Sundance is great.

I did my first film when I was in the final year of my graduation. At that time, I was still a kid, and I couldn't read the industry very well.

Whether it's acting, directing or writing, I want to be involved in the film industry for the rest of my life.

Ultimately, to have a career in movies, to a certain extent, certainly in England, you can't sustain a career in just English movies.

It costs a lot of money to release a movie. What you'd call art-house movies - movies that don't have big stars or big budgets - they're very hard for distributors to get behind 'em and take chances.

It's the thing they don't teach you in film school - what happens after you finish your movie.

Quite honestly, it's too tough to get your movies made and then also to get out there and sell them.

When I started in the mid-'90s, the goal was really to shoot for a film career and stay there.

I started making music videos in my twenties and made my first feature, 'Guncrazy,' at 29. I then spent the greater part of my thirties directing features.

I wanted to write a film and I thought the best way to do so was to train myself within the field... It was just like a cycle of people trying to make it, not making it, doing extra work, and it was pretty depressing in the end.

I love making independent movies, and that's pretty much what I'm going to be doing for the rest of my years.

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.

I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.