Lee Marvin Quotes

I always ask two questions when we are closing in on a deal: What currency are we dealing in and how many people are expecting to get paid as part of this transfer?

My agent gets 10 percent of everything I get, except the blinding headaches.

Just as Jimmy Stewart and Tyrone Power get 50 percent of the profits, so do I.

The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

For this to make sense, of course, it would have to be a fair financial deal for us. But I think this could be the occasion for us to build a true partnership in content. And we're especially interested because interactive services are a key field for us.

We were happy with funding 'Rage' on our own nickel for years. We intended to do the same with 'Doom 4'. We had offers early on for 'Rage'. People offered us X million dollars. But we carried the risk, and when we finally signed a deal, it was X plus $10 million.

Sometimes on Broadway, you don't know who the investors are, and you end up making a million dollars for somebody awful.

We like to get money. Whoever wants to work with us and make some money, let's do it.

You have to realize WWE's contract. They're not getting paid from advertising money. USA makes that money. WWE gets paid by USA, they get paid a lot of money, and the money increases every year. Ratings aren't the most important thing to them.

Authors need to decide if they want to keep forever to themselves, or share forever with a publisher who takes over half the cover price.

We're charging what we're worth and we don't think we're worth $22.50. We take a lower cut than Pearl Jam.

Unfortunately writers take a very small part of the profit on their books, and I think in the e-book world there is a real danger they will take even less, unless they are vigilant and robust about protecting their own interests.

So why sign your name in blood for more? It seemed like a sensible arrangement for me. I didn't sell large numbers of records and the record company paid advances they rarely recouped.

If you have company-owned stores, you make 100 percent of the profit from each one, but you have less entrepreneurial spirit.

No pay, no Goldblum. That's it.

The booking agent had the audacity to take 10 percent, so we wound up with about $100 a week apiece.

We are taking close to $10 a CD the way we are doing it, and I think that is a fair amount to split up between five guys. Each of us makes like two bucks a record.

In our works at Bethlehem and San Francisco, and all over the United States, I adopted this system: I pay the managers practically no salary. I make them partners in the business, only I don't let them share in the efforts of any other man.

It's 85 million dollars and they got to be really careful because they are going to need me.

We're kidding on that. One of the things I insisted upon when we went into this project was that we are full partners, going fifty-fifty, both on the money and on the say of what's going on with the books.

The studio have always claimed that the ship is the star of the show, especially when they're renegotiating contracts.

Be the business never so painful, you may have it done for money.

What people forget is that every movie that gets made keeps making money for somebody FOREVER.

Forty for you, sixty for me. And equal partners we will be.

Since, however, the reduced surplus value is to be distributed among them in like manner, the modification of their respective parts in the production of surplus value must find expression in a modification of the prices.