Tom Sizemore Quotes

It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

I'm fed up with the idiots... the ever-widening gap between people who know how to make movies and the people who green-light the movies.

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

I became a producer because nobody was ready to finance my films.

I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.

You read a lot about movies with budgets of $25 to 30 million. Hell, if a studio can piss away that kind of money, why not let 'em piss on me?

Mid-range to low-budget movies have to have a name in the lead to get financing for it.

They're making so few movies that you really just have to make it. It's going to be the only way you end up getting work. I don't believe anyone's going to really go out on a limb and just throw millions of dollars on someone that's not been proven. They're going to have to show somebody something at some point.

I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.

I think you get in trouble if you make experimental big studio films.

Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

And in movies you must be a gambler. To produce films is to gamble.

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.

When you make a movie, you can only make the movie that you would want to see.

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

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

I don't make deals, I make pictures.

The thing about movies these days is that the commerce end of it is so inflated and financiers are just expecting this enormous return on their investment.

The lifeblood of my career has been independent film.

The first time I did a big American film, I was surprised by all the different financiers who came to the set and told the director what to do.

Since childhood, I'd dreamed of making a film, but producers in France and Germany wanted to make commercial films with chinoiserie. I refused.

In big movies, interests are not aligned between those above the line and the financier, because above the line gets paid whether the movie works or not. The financier only makes money if the movie works, and that fundamentally sets up a contentious relationship.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.