Risky Projects Quotes

I don't mind getting involved in a risky project as long as I don't have to stay married to it if the script turns out lousy.

Mostly I do films that mainstream Hollywood wouldn't touch.

There are some films that you know will do well. Then there are others which have good stories that ought to be told. But because they are slightly risky, not everybody is willing to take that up. But I think it is important to take risks because at the end of the day, you want to explore new genres and new characters.

Nobody wants to take a risk with scripts that push the envelope.

I was very willing to take on controversial roles that people didn't really want to look at.

Lot of people liked me in 'Manorama Six feet Under,' 'Oye Lucky Lucky Oye,' 'Dev D' and 'Shanghai' and the only common thing in all these films is that when we were making them we never thought they would work. The ones that did not work were safe films.

I tell everybody on the first day of making a movie that if anyone's here to further their career, they should leave. I'm gonna make the movie in such a way that we won't have a career when this movie comes out. Because the people who hold the moneybags are not going to want to share any of that money with us to make the next movie!

Some of the best projects I've worked on - 'Dexter,' the 'Bourne' series - were leaps of faith. I couldn't read the scripts in advance.

Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'

I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.

Maybe I would get the chance to be financed for a small romantic comedy, but a war movie by a 28-year-old woman about Japanese soldiers? No one was going to go for that. It's easy to just steal an idea because it's very safe.

I choose projects that resonate with me on some personal level and projects that I'm afraid to do. If I'm afraid to do them, then I usually say yes, because it means that I'm not ready to go there and deal with certain aspects of the script.

If I as a filmmaker take a very radical subject, which might not get an audience in the first week, multiplexes wouldn't agree to let it play on their screens.

Here are the good things about independent films: They do the more interesting, chancy scripts. They're run by love.

I think funding risky projects is very important.

I think if you went to a studio and pitched the first 'Insidious,' it never would have gotten made because it was so offbeat.

The studios are nervous on every movie. It never ends, because Marty's movies are so unusual. He doesn't repeat himself, so they don't know what to expect. We have to fight hard to keep them from being ruined. Film students can't believe that when I tell them, because they think, 'Well, it's Martin Scorsese.'

I'd like to do a little bit more adventurous TV. Maybe Showtime or HBO or just a little bit edgier. But I would go back to NBC, CBS, whatever.

Sometimes you find that there is better material in small and more independent movies. There's more risk-taking.

One of the most important things for a country, particularly when it's seeking to attract long-term capital in big risky projects that are going to have a payback over many years if not decades, is to be seen as being a predictable environment where tax changes will be few. But if they are going to come about they'll come about in a way that you know is predictable, understandable.

I still remember most people in the industry warning me that I was not playing the stardom game and that I was becoming niche because these content films don't do big numbers.