Chris Evans Quotes

You end up giving up half your salary every time you make a movie because you need the money to make the movie you have in your head.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

If you find yourself considering a project that seems like a layup, then you're diluted, or that movie's probably not the right movie for you to be making.

Not all of our movies work, but we take shots, and we're able to do that because we really stick to low budgets.

It's very important that you never depend on money to fulfill your creative vision. If you do that, you're doomed to fail.

If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.

The Weinsteins believe in test screenings. I don't. I don't think good films are made that way. Call me crazy, but I'd like to think you need a singular vision to make good art.

Some of my best experiences are with writer/directors. Guy Ritchie is one. I feel they have a clearer view of what they want to do. They haven't got to try and interpret someone's writing; it's all theirs. I really admire that.

Because making movies is such an expensive endeavor, other media such as books and comics have long been a more feasible way to experiment with truly new ideas.

You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.

Most filmmakers can't afford to try something out that doesn't work.

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

I don't make movies because I think audiences will want to go see them.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

The most important thing when you do a movie is that you find an audience that really understands what you want to do and is really supportive of it.

It seems there's a sliding scale between the money they spend on a movie and its creativity.

I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.

As a director, my job is to spend money, and the producer's is to save money. Masoom, Bandit Queen and the first Queen Elizabeth have been my most uncompromised films.

If you are handed something, it's a blessing and a curse. Look at hip hop artists, they produced everything themselves. Even people like Robert De Niro are getting into production. Again, it's art vs. marketing. Not everyone can take the risk. You have to break a few eggs to make a good omelet.

I really love independent films. There's something so determined about the people who work on them.

Financiers don't support their directors to cast properly. They don't have the vision of an artist. They're casting to spreadsheets, and it's making movies very mediocre. The movie business used to just be called the movies. Now it should be the business movies.

It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.

There's a long history of people who spent that $300,000 on their first film and weren't quite ready, and then they never did it again 'cause they were out of synch with where they were, and they would never raise that money again.

The financial side of Broadway is the easy part. Plenty of people want to put money in a Broadway show. The challenging part is finding the material that excites me enough to spend a couple of years of my life devoted to it.

I am open to working with new directors as long as the script excites me.