Barbara Broccoli Quotes

I think the reason you use an actor is if they are right for the role. Most of the high-profile stars tend to be good actors. That's probably what led to their fame. So if they are right for the movie, you can certainly use them. But I don't want to, not at all. Stardom and Hollywood overpower the ideas and the film.

I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.

Because Guillermo's [del Toro] obviously a painter painting a picture and my job is just to provide the color that he probably already has in his mind.

As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.

I've worked with some really great directors, and I'm really choosy about them because they're telling the story at the end of the day.

I have always believed that when a film is being made, it has to be the director's vision.

The writing of 'The Ladykillers' was fun. But once it goes out of your hands it's not fun, 'especially for someone who is used to being hands-on like me.

Certainly there is a lot of collaboration, but there is also a lot of clarity that has to be had in the vision that you have for the film when you come in as the director. Without that, there's no bullseye to be aiming for.

Writing and directing, to me, was the logical evolution from my life as an actor: going from telling someone else's story to actually creating my own. Perhaps one day I will do all three: write, direct, and act in the same production. That might get a little hectic, though.

All great directors or anyone who has a strong vision like Scorsese needs to have a lot of support around them. I think from the very beginning - when we met each other - he realised he could trust me to do what was right for his movies.

Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.

The best thing about being a film producer is I get to spend 99 per cent of my time behind the scenes.

I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.

I don't get to make many features. It's not like that's something I can just snap my fingers and make happen.

I love to choose the right actors. It's kind of a pleasure to work with them and watch them imbue your concepts that you write.

As an actor, we can only do what the director wants. Only the director has a vision of the entire film.

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

And often when things turn to TV series there are so many different people with different agendas that things can morph. And so, you know, that was why having the executive producer title was important to me because even if I was the star and I had a concern, you know, that concern would only go so far. But having the title of executive producer actually makes them have to actually listen to me complain.

I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.

I don't think of an actor. I think in the character, and then I search for the actor. Usually I'm thinking without names, because they will change my idea. No big egos. If I want egos - just mine. That is enough.

Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.

You never really know what the director has got in his mind as far as the scene visually and art direction wise, etc. Even if you do, sometimes there's a side of things that don't necessarily gel the way people intend. So there a bit of a mystical entity, film.

The truth is, no matter how modest Steven [Sebring] is, he was obsessed with the outcome of the film [Dream of Life]. Every single frame was important to him.