Kelley Armstrong Quotes

I did a terrible television pilot that was so badly written and dumb that it became a turning point for me and I decided that I would never accept a job just because I needed the money.

Many musicians will say they don't care about the money yet they must commit themselves to appear at given times and places, and to produce what sells, whether they believe in it or not. It depends on contracts.

The writer must earn money in order to be able to live and to write, but he must by no means live and write for the purpose of making money.

There's a few movies I wanted to do, and I didn't get to do them partly because they wanted me to be part of the horse and pony show, getting the money, and I'm just not doing that. There's a few movies that people wanted me to do, but they were too safe.

There's something deeply satisfying when it succeeds, but I'm not going to do another book just to put my name on something and make some money if it's not something I deeply care about.

I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.

It troubles me that people speak about writing for money as ugly and distasteful.

I've always been really picky about roles and make a point of reminding myself that it's not about the money - because, obviously, there's a lot of money to be made in this business if you're willing to do anything.

I won't make a movie for money ever again.

Don't write for money.

I felt that I shouldn't be an actor who just makes movie after movie in a quest for prestige and money.

Special-interest magazines are dangerous places for writers to start out in because the writing quickly falls into a routine and people are likely to find themselves artistically exhausted when they want to work on something of their own.

On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.

Inevitably any series that goes on too long will reach a point where it starts struggling for ideas, so I've always been really aware of getting out while the going's good.

I'll know when the ideas aren't fresh anymore. And I'll know when writing doesn't give me a thrill anymore.

Money is an unavoidable consequence, but it isn't the reason I write; if it was, I wouldn't have written any of the YA books, because advances in that field are small compared to what I'd got now for an 'adult' DW.

Modern poets talk against business, poor things, but all of us write for money. Beginners are subjected to trial by market.

I've never chosen or rejected a role because of money.

It's very scary to turn things down, but a project has to really mean something to me. I'm not interested in making a lot of money.

This idea of trying to repeat a success doesn't interest me. It's only really done to make money.

If I had rolled along with the strip's popularity and repeated myself for another five, 10 or 20 years, the people now 'grieving' for 'Calvin and Hobbes' would be wishing me dead.

I'm not going to take something based on budget and do something just for the sake of it. I want to make good films.

I'm not going to do anything that I don't think is very funny, even if it's a lot of money or massive exposure.

Despite all the cynical things writers have said about writing for money, the truth is we write for love. That is why it is so easy to exploit us.

I am not adding more films to my kitty just for the sake of money; I choose my script and do it.