Usually with things, you go where you can find the financing to do it.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
When a director is also a writer, everyone on the production looks to him, knowing he gave birth to the idea. There's a different level of viability.
I have these ideas that people go 'Oh, that's cool. I'd pay to see it, but I'm not gonna give you $25 million.'
Sometimes I might feel like [a movie] is kind of a weird idea and if I'm going to get enough money to execute it properly I've got to get somebody in it that is going to justify the expense.
I'm not closing the door on my solo career, but with 5th Story, if the public demand is there, then I'll continue to work with the band. If not, we'll all go our separate ways again.
I have worked with big actors, but honestly, I don't judge the viability of a project on the basis of the star value attached to it.
I have made a decision that in future, I will only take on movies that have a better than 75 per cent chance of being made, and that's not easy.
If people in the end think that you can't do something in a way which is acceptable then it won't fly. The only way you get anything like this done is if people think, 'I understand why it is being done.'
The real challenge in this line of work is being able to weed the productive ones from the chaff, to decide which you're going to spend the next six to nine months turning into something that people will pay for.
If you want the world to pay for projects, you have to be able to display why you're worthy.
After two weeks of working on a project, you know whether it will work or not.
As long as somebody is guaranteed a certain number of sales you know you're gonna keep seeing these vanity projects. I mean they have a place, they serve a function they can bring people into comics.
