John Lloyd Quotes

I have done well out of TV, but not well enough to buy football clubs. I'm not sure it's ever a way to make money.

If studios don't get their money back, we don't have any movies. So it is important that films are successful, and I am fully supportive of that because I'm not just a director, I'm also not stupid. I've been in this business long enough and, to a certain extent, I'm a businessman; I know the importance of that.

It's a great story for us whenever an entrepreneur makes a crazy amount of money and we get to tell the world about it. For the entrepreneur? Not so much. Hitherto unknown relatives, entrepreneurs seeking angel investments, money managers and supposed baby-mamas all come out of the woodwork with dollar signs in their eyes.

The press don't like to say nice things because nice is boring. It's much better to label me the devil. What we do is not brain surgery. We are entertainers, plain and simple, and we're responsible to bring that money back, to make a profit.

Money coming in says I've made the right marketing decisions.

I think the biggest issue for legacy media - both TV and film - is that it just costs too much money to develop a TV series or movie. And most of them don't work. Then the one that works has to pay for the rest.

I put $5 million into the real-estate business when the world was coming to an end, and three years later, by 1980, I woke up and was worth a hundred. That's a lot of money back then.

There's still a lot of investors wondering what to invest in. And, of course, I think entertainment looks attractive when you read the few films that make these insane amounts of money. What they don't know is they don't always do that.

As soon as you go into merchandising, everyone nods sagely and says, 'Ah, now we know why you are doing it.'

I understood why films were made, and if they made a lot of money, they were successful. All of these things I knew. As a ten-year-old boy, I didn't really think a lot about finances or celebrity. I always viewed films as kind of what I imagined a summer camp to be like.

I'm potentially worth a lot of money, but I've got to go and make something that's worth a lot of money.

That's where the money is, on the road.

I've turned down twentysomething million dollars for movies.

Ninety percent of games lose money; 10 percent make a lot of money. And there's a consistency around the competitive advantages you create, so if you can actually learn how to do the art, the design, and the programming, you would be consistently very profitable.

Business people have been made into these rock stars because they've made a lot of money.

I made my money by selling too soon.

The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.

Normally I would not recommend a book that tells you how to make money in the stock market. Most of these books are aimed at gullible folk, and they usually make much more money for their authors than they do for the investing public.

My clients don't pay me to feel sorry; they pay me to bring them money. I am tough, but I have a soft side.

They know they got the TV ad, they know they got the name recognition, they know that they can do a tie in with McDonald's or some fast food outlet and the money is just gonna flow in.

No doubt, I am earning more money with my endorsements than I ever earned playing soccer.

To the general public, show business may just mean the artistic part, but the dollar and cents element is the reality every performer has to face.

You don't hear a film director saying 'Money mustn't go out of the industry' to actors. You don't hear a concert promoter saying 'We must make sure that money doesn't go out of our industry' to Elton John. Some people in football seem to think, 'Never mind the players, let's get on with the game.'

Generally speaking, the more money that's involved in anything, the more people are expecting and hoping that it's not going to fail.

Hollywood executives believe that money is both the be-all and end-all to the moviemaking process.