Marc Blucas Quotes

I feel like I don't have much of a preference. With TV, it's just a longer process, so you need to be more sure that you really want to be involved in it for a longer time than you would be with film.

TV [series] is a six-year decision. It's not four or five weeks. If a filmmaker and I don't get along, it's four weeks of your life, so whatever.

And the thing is, every time you start a new show or do a new series, you're committing to another six years.

I've been in this business a long time, and I've worked with a lot of different directors now. It's cool to get the chance to work with the same guy several times.

There was a moment when we were casting 'Groundhog Day' when Bill Murray was not at the top of my list. He'd been getting crankier and crankier. By the end of 'Ghostbusters II', he was pretty cranky. I thought, 'Do I want to put up with this for twelve weeks?'

I'm re-teaming with the producers of 'Twilight,' whom I love and who I have an amazing relationship with.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

On a film, you work with somebody for four months and it's wonderful, but commercials it's like catching up with someone for a beer except you happen to shoot something at the same time.

I am very pleased to be working with director Woo.

I would even commit seven years to a film for Rajamouli.

Well, you'll find the most boring part of it is the waiting, at least if it's in films anyway. Television's a lot faster, but the product... I don't think it's as good as a film.

I did a TV movie with Tom Cavanaugh. He was the perfect partner, I learned so much from him. I would do anything with him again.

I didn't want to commit to a TV show.

I think a long-term TV show is probably not for me, but doing a few years of something could be interesting.

I'd been working with Chuck Lorre since the dawn of time, starting with 'Dharma and Greg,' so when I get a call about a really cool opportunity to work with him, I say yes, even before I know what it is.

If I start a film of my own, then what I eliminate is acting in other people's movies. Because once I start, and I go raise the money, it's about two and a half or three years, and I can't stop. I have people hired. I can't say, 'Ooh there's a good part called 'Drive'; I'll see you in three months.'

To work with the same director is a great feeling.

When you're working on a project that's going to take six years, you're weird from the jump.

Films are done in about three months, and television takes up about ten months out of the year working on the same project.

The whole Orion zeitgeist, of treating filmmakers as partners, to me it's inseparable from the success of 'Silence of the Lambs'.

I had been trying to make movies, but they were really hard to get made. TV wound up, by surprise, a much more fulfilling place to work. That said, I've always been drawn to make movies.

Having a connection and chemistry with a director is really key.

I think the most significant change in my life is the decision to do a series. An hourlong dramatic television series on a broadcast network swallows you and chews you up and refuses to spit you out. You're making a decision that's going to be a profound and significant impact on the practical aspects of your life.

If you want to write for films or TV, you must go to Hollywood.

It's good to work with a writer-director.