Bill Hader Quotes

Well, the studios don't really want to take those risks right off the bat. They'll take the risk after they've seen the finished product and say oh yeah we want that. This is a great film but they are hesitant to take the risk when you just see it on paper.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

'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.

My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!

It'll take me a lot longer to read a script if there's no director attached.

It takes so long to put a movie into production and finish it that anyone with a bad idea has time to give it to you before the movie is completed.

But it was not possible to do this movie, in this matter of time, without a solid rehearsal period.

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.

The first thing I ask when I'm offered a part is, Who's the director? which is something they never understand in Los Angeles.

Pre-preproduction is the tenuous time before a project is greenlit; before the studio commits to spending real money. This is the most vulnerable period for any film because it's the time when your project is most likely to be put into turnaround. That's film-speak for killed off.

The great thing about being a producer on a project is that you get to see the ins and outs of every piece of the puzzle. There are so many elements involved in every aspect of a film's development that I don't think the average person is aware of, which is, I guess, why the whole process is referred to as movie magic.

A casting director who'd cast me in 'Assassins' sent a video to Kevin Reynolds, the director, and Mel Gibson, whose company is producing '187.' Then I went in and auditioned, and a few hours later, they called me.

We chose the actors thru a series of auditions when we started the show.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

I'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'

The Dead was cool, It's a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.

Casting is really exciting. With 'Twilight,' I wasn't involved at all with the casting in the original. They kept me in the loop, which was great. They'd be like, 'Hey Kristen Stewart's gonna do it' and I was like, 'Really? Awesome.'

Generally, if a good script comes in I read it, and if it appeals to me, it appeals to me. And it doesn't have to be anything - it doesn't have to be the main character, it doesn't have to be a huge part. It could be a nice cameo - anything that I think is good and surrounded by good, enthusiastic people.

Obviously, if Woody Allen calls and says he wants you to read a script, of course you read it.

I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.

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

I really wanted 'NH10' to be made, and being associated with it eased the entire process.

I was reading scripts, doing coverage, for CAA. Reading hundreds and hundreds of scripts across the board, from blind submissions to 'Brokeback Mountain'. It was not always a pleasant task but something, in hindsight, I'm glad I did.

When there's a good script, everybody circles.

My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.