Asif Kapadia Quotes

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

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

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.

Well, we are not doing that film actually. At least I am not at the moment, but we are making an effort to get it done; I don't know whether we'll get the financing for it. The old story we had it, it fell out of place and this and that.

It takes a long time to get a film made.

The great thing about film is you start and finish. It's a journey that lasts so long, TV lasts a long time.

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

It often takes a couple of years to get a script right and then takes a couple of years to get financing together.

I have a couple ideas that I'm banging on for a film. It's strange, you make a movie and, all of a sudden, your agents are calling you and saying, "Hey, I know these guys with some money who are looking to finance something." You're like, "Oh, god, now I've gotta come up with something really amazing."

You can't get a movie made without a script; it's the blueprint to your building.

It's part of the film-making business and also part of the creative process - putting all the pieces together to make a movie, so that they all line up. Sometimes it looks like you have a lot of projects lined up, but some of them are in different stages.

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.

I spent a long time working in the movies to figure out that kind of acting and also how to write and produce for the screen.

When I was doing the first 'American Pie' movie, I was just happy to have a job. We had a good time, and it was a great group of people, but like any project that I've worked on in my career, you just put your best foot forward, and you're all working together to make the best movie possible.

I remember when I first started, the first movie I wrote that didn't get made I was aghast. 'Wait a minute, that's not how this is supposed to work. You write a move and it gets made!'

My dad always produces, and I would always sit in producers' meetings with him. I like the whole thing of putting a movie together. I think that's very exciting.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

What is important to me is that people know I respect the business of making movies.

Each one of my movies becomes easier to get off the ground.

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.

It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.

Nowadays, to get a movie greenlit, you have to make an incredible effort.