Simon Pegg Quotes

Anybody who understands how a movie gets made understands that a deep-pockets player is not going to make a movie that has anything defamatory in it without protections.

Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.

As far as producing, once we started shooting, I soon realized where the critical decisions about the movies were really being made, and it wasn't on the set. They were being made in the production meetings. That's where producing a movie happens. And that's where I wanted to be. I didn't just want to be a piece, a pawn being played. I wanted to take part in the creative process, and that's how I sort of got introduced to the idea.

Let's face it, making movies is all risk. Most of the time, batting average-wise, the reward does not outweigh the risk.

I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.

I don't know the figures, but Hollywood must buy 100 rights for every movie that actually gets made.

The movie business is very much like that: people in authority making purely emotional decisions instead of interesting rational ones.

And in movies you must be a gambler. To produce films is to gamble.

The film business has so many twists and turns that it's a miracle any film gets made.

Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control.

In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.

Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.

I hope, George, that you know what you're doing.

Film-making, in itself, is such a risky, costly-yet-uncertain business that despite being wealthy, 90 percent of people don't become producers.

It's great to make strong, powerful films, but in terms of people wanting to finance them, it's also very difficult.

I just stick to my job, which is acting. Things like posters, publicity material, and promotions are entirely the film-maker's prerogative. I don't get into all of that.

Filmmaking involves a lot of money and hard work, which should not be wasted, though nobody knows which film will be a hit.

Movies are not an art form where you get to kind of sit in your art gallery and paint, you know? You don't do that. You're spending a lot of somebody else's money.

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

As a producer, it's your job to bang on the table and convince studio heads why great movies should be made.

If you sell the film rights to your book, it doesn't mean there will be a film. I have sold the rights to five books and had zero films made. Take the money and be thankful.

All I can to, and the only sense of control I have over this crazy moviemaking business, is to pick things that I like with people that I love and respect, and then just hope everything else works out.

Sometimes I'm afraid to go to sleep because of what I'm leaving behind.

When one plan that you have, to get this or to get that, to advance in the world, or whatever it might be, when that seems in danger of veering off the path you have set for it, you have your emergency plan ready. And in simple language what that emergency plan is, what you put into operation, is called worry. If you can worry you are occupied, and what an incredible human situation it is!

It's not time to worry yet