Studio Investment Quotes

The typical output deal from a studio is 10 to 14 movies a year.

If studios don't get their money back, we don't have any movies. So it is important that films are successful, and I am fully supportive of that because I'm not just a director, I'm also not stupid. I've been in this business long enough and, to a certain extent, I'm a businessman; I know the importance of that.

It's hard to get movies made.

When the major studios flourished many years ago, an actor was groomed, developed, and worked frequently at his craft. The studios really took care of their actors.

Market forces impose certain rules before a film can actually get made.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

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.

It's incredibly, incredibly difficult to get a movie made.

If the studio wants to spend money on making your movie better, let them.

Unless any book is selling 30 million copies, like 'Fifty Shades of Grey' did, the big studios are not going to make movies out of them because the cost is too high.

It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.

The major studios are by and large banks, and they give you what is by and large a loan to make a movie. Like banks, they want their money back plus.

Certainly, no studio is going to put its money and its muscle behind something that they don't think they can spin five or six movies out of and build a whole kind of imaginary universe from anymore, I think.

There were two practical reasons we moved to Venice. One was that there was an artists movement and a countercultural movement. Lots of people we might want to hire lived in the area. We also wanted to buy in a lower rent area that looked like it was going to be gentrified so that we could eventually sell the studio for more money.

Studios are used to have an investment in you, an actual, literal investment in an actor. You paid them some money, you had a contract with them and you were almost like a commodity.

Pre-preproduction is the tenuous time before a project is greenlit; before the studio commits to spending real money. This is the most vulnerable period for any film because it's the time when your project is most likely to be put into turnaround. That's film-speak for killed off.

The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.

Hollywood studios bury that stuff - actors who punch directors in the face and try to run producers over with cars - insanity, criminal behavior. But the studios are invested in that star, they can't have that person's name dirtied up.