Timothy Spall Quotes

My manager and my agents, they go over my contracts.

One of the reasons - I stopped doing films for about a year and a half because I felt that I was being somewhat used by producers that were trying to get their movies made within a certain budget range and not take care of me.

Celebrities become divas because they get pampered so much, babied so much - then they get used to it.

It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

Nowadays, in the contract that actors sign, you have to agree that you're going to do a certain amount of publicity-the hard part they don't pay you for.

It's hard not to get a big head in the film industry, there are people on a set paid to cater to your every need, from the minute you arrive until you go home. It's kind of strange, but not unpleasant.

We'll look at a bunch of deals that are being offered to us, and we decide where to go and continue on I guess. It's not too early to start considering our options with other labels.

When my mother signed at MGM, that was the only kind of contract you could sign. There was no such thing as an independent agent.

Writing on a contract for a major studio you get the very best.

It's never me saying, 'When is my day over?' It's more, 'When do they legally have to get me off of the lot, based on when I have to be back the next day?' The first call is a big thing in the acting world and in the union world. There needs to be a 12 hour period, and I need it.

It's one thing to sit back and say, 'Hey let's play a club, that will be great,' but then you get there and say, 'Hey wait, this is the dressing room? Where's my dressing room?'

Having a studio tell you when to jump and how high eight months of the year for six years is not a relationship I want to get into again.

I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.

If did go back to school, I would want to learn another aspect of the entertainment industry like to become a producer or an agent, you need a law degree.

You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.

The Screen Directors Guild was organized solely by and for the motion picture director... We are not anti-anything: The Guild being formed for the purpose of assisting and improving the director's work in the form of a collective body, rather than as an individual, as was necessary in the past.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

When you go in to do a screen test, you negotiate your contract and sign all your paperwork before you even get on a plane.

You sign your life away, basically, when you sign a record deal, and if you have a platinum album, then you go back in and renegotiate.

I don't have a reputation of being a super-witch who demands pink rugs in the dressing room.

I don't make people bend over backwards, and I don't like that in people. I am definitely no diva.

CAA has a great history of representing fantastic talent, many of whom are my heroes in film and television.

Patrick Wilson and Rose Byrne made very good money from both 'Insidious' movies. Word travels fast, so as soon as you have a success and do what you say you're going to do in a contract and pay out that money, we had a lot more established actors come to us and say they want to work with us.

I've made six films for Disney, and they have a clause in their contracts called the morality clause that I've always refused to sign.