Don Bluth Quotes

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

Because we self-published 'Draculas,' we control the rights. Not just for now, but forever.

Don't sell your publishing.

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.

I don't like to deal with studios.

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.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

Only I hold the right to all my songs.

It's just hard to get an independent film made.

I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can.

When you do a studio picture, all the paperwork and legal stuff is already taken care of!

A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.

But no one should have the right to manipulate my films in the first place.

Market forces impose certain rules before a film can actually get made.

You'd be naive if you think you are going to retain any control once you option a character to TV.

I haven't thought about writing so much as potentially producing and finding my own projects to get into production. I want to be able to buy the rights to a story that I have read or a book that I have read.

Films always make everyone else rich save the author.

Composers and lyricists are not responsible for storyline and casting. One can imagine actors shouldering this responsibility, since they charge for half the film. But producers never ask actors to share the losses. Instead, they train their guns on composers and lyricists.

The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.

We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot.

That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

Those writers that have zero say in their movie adaptations have zero say because they sell it. If you don't sell it, and you do it yourself, and you wait until the screenplay is ready, you don't have to worry about that.