Terry Gilliam Quotes

There's a good many pictures I'd like to make; we'll see how many I'll be allowed to make.

If you can get your movie made the way you want to get it made, no matter what the end result is going to be, if people are going to see it, that's awesome.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

I always say that I'm a filmmaker, not a factory. I don't have to churn out films every six months.

It is difficult to make movies on your own terms and also to make a film and convince somebody to have faith in it.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.

If everyone's comfortable, you can pretty much make any kind of movie that the director wants.

You always want to do something different. I enjoy the process. I like making movies, and it's increasingly hard to find a movie you'd want to make.

If I can make the movies I want, people are going to watch it how they're going to watch it.

Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.

The black groups that boycott certain films would do better to get the money together to make the films they want to see, or stay in church and leave us to our work.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.

I have as much artistic freedom in my television work as I have in my films.

I think you get in trouble if you make experimental big studio films.

The filmmakers always have a great level of control.

I'm not in a race with anybody to make the biggest hit movie anymore. I am just trying to tell stories that I can stay interested in for the two years it takes me to supervise the writing and to direct them.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.

I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.

The ultimate thing is creating your own stuff and making projects for yourself. That's what Seth Rogen does. He's writing and producing a lot of the movies that he's the lead in.

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

A director in Hollywood in my time couldn't do what he wanted to do.

I have a freedom that's incredibly valuable. Obviously my freedom is far smaller in scale than people like Zemeckis and Spielberg have here. But it's comparable. I can dream up a project, develop it, make it, control it, release it.