Tony Gilroy Quotes

One of the reasons the producers' credit has been so weakened in recent years, and given to people who didn't deserve it, was that people didn't understand what producers did.

With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.

I've always admired how closely someone like C.V. Kumar works with the creative team to promote a film.

Before I made 'Sweetback,' I had a three-picture deal with Columbia and enough juice, if I was real clever with it, to proclaim that I wanted to do an independent film.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

Normally with film, it's normal for the screenwriter to never be seen again after finishing until the premiere.

If your financiers care about the movie, they will be involved in a very constructive fashion, but it can get out of hand very quickly, and that is something to be aware of in any type of filmmaking.

I have never had the problem of finding a producer for my films. I think I am just lucky because my first film didn't do great box office business.

The way we structure our deals is to work closely with the director. It is imperative to work with a studio because the way the film is marketed is crucial.

Vidhu Vinod Chopra, who has produced my earlier films, is still a part of 'PK' and is presenting it. He is not a hands-on producer - he used to put a certain amount in the bank and give me the cheque book.

I want to be able to make a movie.

Producing a film is more unfamiliar territory. Although producing an album and overseeing artists is a task within itself. But film is unfamiliar territory so, here and now, that's more difficult.

We mystify the art of moviemaking, but it's not amystical science. You take a good screenplay, put a group togetherand you hammer it out.

There's no great technical expertise in being a movie producer.

I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.

It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job.

It's part of the film-making business and also part of the creative process - putting all the pieces together to make a movie, so that they all line up. Sometimes it looks like you have a lot of projects lined up, but some of them are in different stages.

I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'

Prior to 'Insidious Chapter 3,' I was happy to write movies for James Wan to direct as I felt very much that I was one half of a duo. I looked at us as a team who works together and I was happy to be part of that, I was happy to effectively be the bass player in The Beatles.

My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!

If you sell the film rights to your book, it doesn't mean there will be a film. I have sold the rights to five books and had zero films made. Take the money and be thankful.

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

Taika [Waititi] came up... We kind of had and we sort of named this girl Moana, named after the ocean. And we had a very, a visual outline of the story. And we heard about Taika from people in the South Pacific that we talked to.

There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.