Peter Bart Quotes

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

It doesn't help anybody to put out a bad script.

Part of what I love about producing is to get to work with writers.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

My creative team filters the scripts before they reach me and a few others. We evaluate them, ponder over the budget, and think of various possibilities to get the viewer excited.

Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.

When it comes to scripts, I take a critical look at them and then sound it off with Dad.

I look for scripts that give me a gut feeling that this is going to work.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

My dad always produces, and I would always sit in producers' meetings with him. I like the whole thing of putting a movie together. I think that's very exciting.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

I was asked to do a reading of 'G.B.F.' and I loved the script. I thought it was one of the most amazing things I'd read, but it took a year to get a green light for production.

Frankly speaking, it's only the script that matters to me the most. If I like the script, then I just commit to myself and go ahead with it. But I also look at the commitment and confidence of the director of the film because it's him who will shape the film.

I never really do much research before signing a film. It is just the script and character that I concentrate on.

If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

Nowadays, to get a movie greenlit, you have to make an incredible effort.