Timothy West Quotes

It seemed like whenever a Western was going to get made, it came my way.

I started with 'Baaghi,' in which I cast Tiger Shroff. And then with director Imtiaz Ali's entry in our production, I tried totally different films like 'Tamasha,' etc.

Hollywood is a cottage industry involving a very small number of people, and around the edges are enormous numbers of people trying to get into it and work.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

Put simply, there are many people who want to make movies and very few opportunities for them to do it.

As the acting class was going on, I just realized I just knew more about cinema than the other people in the class. I cared about cinema and they cared about themselves. But two, was actually at a certain point I just realized that I love movies too much to simply appear in them. I wanted the movies to be my movies.

I find the film world very romantic. I want to try to be in more movies. When you're on a TV show and you do the same thing for years and years, it can get a little bit boring.

I really enjoyed being on movie sets, and I had fun with the people, but I didn't really think about acting or care, or I didn't think I cared about acting.

When you're dealing with Hollywood people, it creates a tight, tense atmosphere through the whole thing. And I don't like to work in that kind of atmosphere. I like to make my movies in a kind of relaxed atmosphere.

I have "fat-guy syndrome." If they give me $50 million to make a movie, I'll try to make it look like it cost a hundred. If they give me $60 million, I'll try to make it look like it cost $120.

In the horror genre, unfortunately you sometimes have the studio tell you, "No, go with more unknown people because it's a scary movie," and I disagree.

Real quality in roles is very hard to come by. Any actor or actress will tell you that. Great movies are hard to come by. It's almost impossible to make one, and most people have to settle for making something less.

I'm a very fortunate person. I get to choose the movies that I want to do. I have a lot of friends in this industry that don't get to do that. I grew up in L.A. A lot of my friends are actors so I realize every day how lucky I am to have this opportunity, so while I'm here, I'm going to try to do exactly what I want.

When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.

The producers had seen "In a World..." and that's where they found me out and consequently sought me out for this role [in Man up].

When I finish a movie, I don’t ever see the movie again. The moment I finish the color correction and the mix, I never seen any of my movies ever again. I just try to explore what I can learn from the experience and move on.

I would have played street cop number three if it meant getting to work with Chris Nolan.

No matter what you're doing, if you're trying to make a movie, you need to be working with people that are really good and who make you better.

Even a low-budget film costs way more money than a high-priced record. So, it's mo' money, mo' problems. When you have more money, it just creates more people trying to get involved and you have more trouble.

It's a tough time for screenwriters right now, because fewer movies are getting made. I'm enjoying television so much. It offers opportunities for writers to be in a writers' room and work their way up. It's somewhat easier because there's more of a community. There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.

Ultimately, if you want to make movies, you've got to want to make movies every day, when people are paying you to make movies and when they're not, because you're going to get a lot more no's on this business, no matter what it is, than you are going to get yeses.

I feel like casting is the most important aspect of making movies.

I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing.

Most of the films I myself like don't do very well. Every director, he has a choice, whether to go for subtlety and try to articulate every minute detail, or to go for the broad strokes and hope that the people will fill in between the lines. I tend to go for the broader strokes.

My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.