Quotes About Money

I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who's been on the cover of magazines.

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.

And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.

It's the formulaic studio movies the make money, and when they do, the actors in them are automatically movie stars.

I've certainly auditioned for big budget studio films. I don't know if it's because there's so much money involved, but a lot of times the pressure overwhelms me and engulfs me. I end up falling apart in the audition.

Well, Hollywood isn't made up of individual studio heads anymore. It's made of corporations. And corporations are looking for the bottom line. They don't want to take chances. They want the money back for stockholders.

I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no one else can make them.

Here's the thing with the business, is that when people like your work, and you make them money, you're set. When the critics like you, and you make the studios money, doors opened.

I don't see a lot, but I think what the movie studios know and what they always know but they kind of ignore, which is that a there's an audience for movies like 'Get Out,' and 'Hidden Figures,' and to some extent 'Moonlight,' which made a lot less money than 'Hidden Figures' did.

You have to work to be relevant. If you don't, then people will forget, and the studios won't want you because they won't remember the last thing you did that made money.

It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.

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.

In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.

It's hard to get movie studios to pay a lot of money for movies that don't have robots or explosions.

The studios have been taken over by marketing people and accountants.

The studios don't finance anymore, they get outside funds.

If you look at American studios, the big productions have nothing to do with reality.

If the studios paid the artists, how would they ever be able to afford the executives?

If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'

I would love nothing more than me and my family getting green cards, going to L.A. for a year, sitting down with the big Hollywood studios and coming up with the most advanced and awesome Internet distribution platform for movies. It would make Hollywood more money than cinemas, DVDs, and everything else combined.

During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.

What happened when 'Sweetback' made all that money, the studios were in a very difficult position. They wanted the money, but they didn't the message. This marked the advent of the caricatures which became known as blaxploitation.

'Milk' had to be a financial success, following the success of 'Brokeback Mountain.' It had to make money so studios would develop other LGBT projects.

In my family, there was one cardinal priority - education. College was not an option; it was mandatory. So even though we didn't have a lot of money, we made it work. I signed up for financial aid, Pell Grants, work study, anything I could.