Zitat des Tages von Scott Rudin:
You want reviews to come the week the movie's opening and not a month before when they do you absolutely no good.
I know that movies are basically meant to be entertainment, but I'm not that interested in entertainment.
I've done a lot of movies based on real people, real situations, non-fiction books, magazine articles, life rights.
Bruce Norris came in twice to audition for 'The Corrections' and subsequently spent many months negotiating every point in a four-year agreement to appear in the show.
I was 10 years old, taking the train by myself to see Saturday matinees, something you'd never let a kid do now. I got very hooked on it.
I love work. I love putting together a group of people who are all doing the same thing. The commonality of purpose.
I do what I feel I know how to do and don't do things that I don't. I'm a product of my sensibility.
You always feel the ground rumbling beneath your feet, and if you don't, you're an idiot. Mostly because it is rumbling beneath your feet, and there is always someone who is coming up behind you who is as good, younger, and, at least as you perceive it, has more energy and more nimbleness than you.
Private emails between friends and colleagues written in haste and without much thought or sensitivity, even when the content of them is meant to be in jest, can result in offense where none was intended.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
That's my goal, to feel like I've done the best I could. When I've done that, anything else that happens is a bonus.
'The Social Network' was probably one of the two or three things I've done in my life that I'm most proud of. I'm not going to engage in what about it was disappointing. There's nothing about it I was disappointed in.
The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.
If you're going to spend two or three years of your life working on something, you've got to be making the kind of movie that discusses and influences the culture and is engaged in the world you're living in.
Anybody who understands how a movie gets made understands that a deep-pockets player is not going to make a movie that has anything defamatory in it without protections.
Those critics awards come and go every year, but the finished movie is your work.
I always loved doing a movie with Daldry. That's always a huge factor for me.
I love stories about women, and I think stories about women are generally pretty underrepresented.
I keep my overhead as low as I can.
Classics stay alive because a great actor or a great director wants to do them.
I got fired from a movie that ended up being called 'Windows,' which Gordon Willis, the cinematographer, directed. I got fired because he refused to cast Meryl Streep, who at the time was at Yale. I told him I thought he was an idiot, and he fired me.
I have a big affinity for the Coen Brothers.
I want to be able to go wherever I want to go, do whatever I want to do. I guard the material and the filmmaker.
I loved doing casting because I love actors, and I am very conscious of what actors do. But I always wanted to be a producer.
If you have the ability and the wherewithal to create work that's basically in a discussion with the culture we're in, how could you not want to do that?
