Tucker Max Quotes

It is extremely empowering when you are making fundamental and critical decisions on different levels of production, till the final showcase on the screen.

I wanted to be more hands on. Otherwise, every time you finish acting in a movie you have to almost go and beg people for the next job, whereas if you have the chance to create and produce your next movie that keeps you busier, it gives you more options and hopefully enables you to make the type of movies you're passionate about.

As playwrights, as poets, we have to look to ourselves, listen to our guts for the final answers about what changes to make. Everyone has advice about how to end your play differently. And it's not about right or wrong. At the end of the day, it's your baby and you know what's best.

A budget is not an issue. I mean a budget is used if you need more weeks or more time or more elements, but the creative process is exactly the same. In some instances you become more of a boss when you are doing a small movie. So that is not so relevant. The only thing is that the bigger a movie is in terms of budget, is that there are more people giving opinions.

I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen.

I have kept a part of Catalina Productions going, through which I develop a few projects just for me.

You just try to get the best jobs that you can get. Sometimes I produce my own movies, so that's your own sort of vision. That helps things. I don't know what it is. Probably just circumstance. I've definitely been aware of the fact that I want to do different things.

I need to find a way of retaining creative control.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

I've already felt that I want to direct. Being an executive producer is like the best job in the world because you make all these executive decisions and then you leave the money to other people. You don't have to be on set and counting beans.

As a producer you have creative control, and that's what is so exciting about it. At the end of the day, if you have made a film it's totally your responsibility, and if it works it's your responsibility and if it doesn't it's also your responsibility.

As an actor, you're never really in control of the product. I think the goal is to create what you want. And if you can get as close as you can get to the creation of something, it starts with development.

Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.

If I start a film of my own, then what I eliminate is acting in other people's movies. Because once I start, and I go raise the money, it's about two and a half or three years, and I can't stop. I have people hired. I can't say, 'Ooh there's a good part called 'Drive'; I'll see you in three months.'

You can take your life into your own hands in terms of directing. There are ways for you to finance yourself and to write and make a film.

No one is mediating aesthetic choices on an OPN album other than myself.

Everyone will always have ideas about how to make your work better. Everyone has advice about how to end your play differently. Start it differently. And it's not about right or wrong. At the end of the day, it's your baby, and you know what's best.

I'm writing, I'm directing, I'm editing, I'm mixing, I'm showrunning. There is a certain point where it's like, the work is the work.

It is easier to make a film but difficult to make it on your own terms. In that sense 'Madras Cafe' was a very satisfying experience.

Directing was a big learning experience for me because I had to deal with every aspect of everything-all this constant decision-making, with people asking you questions at every moment, and you have to have answers for them all.

There's a certain time in the core of making a movie from pre-production to halfway through post-production I don't read any project, my agent will tell people that "he's not reading." And then when I know how the movie's probably gonna work halfway into post-production, I'll come along.

The people at the label were great but at the end of the day our visions didn't match up and I knew I had to do it my way. The potential success that could come with signing with a major label didn't quite outweigh how important it was for me to make my music the way I knew it needed to be made. It was a hard decision to make, but I've never regretted it for a second and it's only become more clear to me after making and releasing Stairwells that it was the right one.

Most people in Hollywood are making about 10 percent of all the things they're considering; I am making 95 percent.

I wouldn't take on the project unless I could have complete creative control in casting.

Being producer you're still going to have to sell somebody who's going to give you the money on the idea and everything like that. But it does give you a little bit more control if you're thinking in that creative process; it gives you more control to tell the story you want to tell rather than sort of just reading a script that somebody else wrote and says, "Yes, please, you can hire me for this job." So it's a little bit more hands-on, a little bit more closer to the heart.