Max Brooks Quotes

I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.

Oh, yes, we were on location with Another Man's Poison, which I wrote for Bette Davis.

Trying to convince Warner Bros. to make a $30 million 'Veronica Mars' movie just wasn't going to happen, for understandable reasons.

Most writers can tell stories of how their books failed to be made into films.

We want to make a 100 million dollar movie that we have created, in the way James Cameron or Chris Nolan does. It's so inspiring when high-quality auteurs are writing and directing those movies. That's pretty cool.

If we got $100 million dollars to make a movie, I don't know if we should be making a $100 million dollar movie our first time out.

I think one of the biggest things is the budget.For a studio, becomes a very big challenge to make sure that movie will work even better on every level. As an actor I don't think in those terms when I make a movie.

When you do bigger films, the financiers take more risks.

Any movie I've ever made, the minute you walk on the set they tell you who's the person to buy it from.

It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.

I felt like I haven't had the typical experience of a novelist whose book becomes a movie.

I like working on big budget films.

'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.

God bless McNally, it's got some fantastic stuff in it, but it's no easy task to make a movie out of.

I wasn't creative enough to imagine my first novel becoming a film directed by Alexander Payne. Nor did I consider the possibility of seeing Hollywood stars moving through my personal version of Hanalei town: going to Tahiti Nui, rehearsing a scene in front of my cousin's cottages, driving the snaky roads.

Working on a big-budget summer blockbuster with a built-in fan base is a dream come true for any actor.

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

All of my books have the potential to become movies, it's just a question of finding a studio who wants to get behind me and put up the money to make the movie.

People said that 'Fight Club' would be impossible to turn into a movie, but I think David Fincher loved that challenge.

You shoot yourself in the foot when you think, 'We have to get a good scary movie director to do a script by another scary movie writer.'

I certainly wouldn't mind if 'Jurassic Park' turns out to be commercially successful, and somebody says, 'Hey, you were in a box-office hit, and if you want to do another movie, we'll give you five million dollars to make it.'

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.

When the 'Fight Club' movie was going into production, I quit my job so I could write full-time.

When you are given an opportunity to make a film like 'Body of Lies' - and I would put 'Blood Diamond' in the same category - of course you jump at these opportunities.

I never thought 'The Glass Castle' would be a movie. It's just too complicated.