It's too expensive, that's the thing nobody wants to talk about. It is too expensive to make movies. That's not true, it is too expensive to market movies. Making movies is not.
Sandalwood is a force to reckon with. People from all over are investing time and money here because the films have good reach and reap good rewards as well.
I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.
You are spending millions and millions of dollars of other peoples money when you make a movie. You have to at least approach it in a way where you can see how you can make that money back for the people who are investing.
If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?
When I was looking for financing while making 'Hellraiser,' I wish there was a studio like Project Greenlight Digital Studios behind me.
As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.
I also care that the public are getting their 12 dollars worth when they go to a movie, and that they're not coming out not wanting to ever see a movie with me in it again.
We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.
What do you spend $200 million on, with a film? I can't wrap my brain around that one.
You know, I can't remember the last movie I walked out of. If I pay, I'll see it through. I can't be halfway through a movie and think that I know everything that's going to happen, because I hope that I'm wrong.
If you want your film to be instantly green-lit, your first approach is not to go to a relatively unknown English actor. They're not going to throw millions of dollars at you for that.
When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.
Some people come to you because if you're in their movie, it'll help them raise money. And some people come to you because they think you're the person to play the part.
