The average development time for a Hollywood movie is nine years. Nine years for a studio film. And a lot of what you do is abstract.
I want to write a studio movie, but probably one that's for me to be in.
I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.
Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.
The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.
It's a dream for a director, at least to try a studio movie.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.
I've only actually done one studio film. I want to be left alone.
I've never done a big studio film, I've only ever done little ones.
I think one of the great things about 'Bridesmaids' is that it's a big studio comedy, but all of the relationships in it are so grounded that you're watching a real movie.
Oftentimes, when you have a huge studio film and you have big names attached, they like to keep attaching big names.
I'd love to find a small movie that someone would sign off on me to do. I have no aspirations to do a big studio film because I don't think anyone would let me.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I think 'Nick and Norah' was a huge deal for me. It was my first foray into the studio world, and that character was such a gift.
I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.
I really think that 'Christine' is one in a million in terms of independent or studio.
To do a studio film, something with Disney. My father is thrilled.
I would love to do a big studio movie, just because they're going to put the money into distributing it. A lot of times you do these little movies, you love them and they never get seen by anyone.
It irritates me so much the way people talk about soaps because it is far more difficult working on a soap than it is on a big studio film.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.
