Mitchell Hurwitz Quotes

I will never be able to create a budget from scratch with the amount of time that I have, but my instructions remain the same: Give me a budget that has no new revenue.

The worst thing you can do after a test screening is slash it for the lowest common denominator.

In the private sector, you have a budget and you stick to it.

I have learned, if you give a team a budget, then the team tries to maximise the budget so that they get the same next year.

You can't compromise to keep the film in budget.

If it's something I feel I can do alright, I like being in those, and some that I think Rob Schneider and David Spade would be funnier at than me, I tell them to do it. I don't have any clue how we decide. There's this thing, this "Click", actually, one of my friends called me up, my partner told me about this idea that Steve Koren had. Steve Koren, by the way, the guy who wrote it with Mark O'Keefe, Steve Koren I've known since I was 22. He was a page at Saturday Night Live.

There's nothing as perfect as the initial idea. And the only reason I write and direct is to protect the writing, because that's what's most precious.

[Make a sitcom] was really the idea of Executive Producer Joe Roth who owned the property over at Revolution Studios and said he was thinking about taking it to TV. And after he said that he already had [writer/director] Ali Leroi on board, and that he was going after Terry Crews, to me it was a no-brainer. I said, "Let's put this together!"

These people who are always briskly doing something and as busy as waltzing mice, they have little, sharp, staccato ideas, such as: "I see where I can make an annual cut of $3.47 in my meat budget." But they have no slow, big ideas.

Adrian Maben came to us with the idea. And we just thought, "Well, why not?" I don't think any of us thought it would be as well received and last in people's minds for as long as it did. All credit to him. It's his idea [Pink Floyd at Pompeii] and it was great.

I'm going to work with Dan Clowes. After Charlie Kaufman, it's hard to fill up the gap. It's hard to find somebody who... A lot of writers, I can clearly see the desire of succeeding before the desire of expressing themselves. Sometimes people get upset when you want to be different. You were talking about "whimsical," which is a nice word. But sometimes they use the word "quirky" in the pejorative sense. I get frustrated, because they feel like I'm doing whatever I want, and there is no ground, and I don't really care. They feel it's cynical. But I don't think I have any cynicism in me.

We are in tough economic times right now, and the first thing we have to do is look at how we're spending the dollars that we have, and at what kind of return on investment we're getting. Because I think it will show that spending more money without fixing the fundamental flaws in the system won't produce anything different in terms of results. In DC, we were spending a whole lot of money on things that had no positive impact on students' achievement levels.

It doesn't matter if you're good at anything, just try your best. Then there's the idea that individually they're flawed but together they can do amazing things. I think that's a very nice message and it's not something you hit people over the head with. It just comes with The Muppets; it's what they're about. It's that kind of innocent try, try, try quality. And it also makes them underdogs. You can't help but support the underdog.

As far as Ken Kwapis saying all those things, I think he just really wanted me in the movie so he probably told Warner Brothers, 'Don't worry, Jimmy Stewart? Gary Cooper? Who else do you like?' If they'd said they were huge Chris Farley fans, he's like, 'He can do that, too. He's a huge physical comedian.' But no, that's really nice to hear.

Extravagant is, I think, the word we all thought when we met ... A lot of money went into that [The Grand Tour's ]. I just thought it would be a good idea to have a bridge from the old to the new and that was a way of saying 'Right, well now look where we are.'

I think of myself as a bad writer with big ideas, but I'd rather be that than a big writer with bad ideas.

I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.

I think it's worse for actors, though, because people have to choose you. As a director, I get to choose the actors, but most of the time, actors have to be chosen in order to work.

I would like to see ... an entirely different procedure which is that we vote on the budget and decide how much we are going to spend, first, the way any family does, and then fit our priorities into what we think we have to spend. Instead, what we do, is to do it incrementally, starting at the bottom, adding and adding and adding. ... Until we get the support of all the authorities in this House to decide, first, what we think this country can afford and then decide where the amount is going to be allocated, we will never have common sense in this House.

Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget.

If I do something I think is new, it will be misunderstood, but if people like it, I will be disappointed because I haven't pushed them enough. The more people hate it, maybe the newer it is. Because the fundamental human problem is that people are afraid of change. The place I am always looking for-because in order to keep the business I need to make a little compromise between my values and customers' values-is the place where I make something that could almost-but not quite-be understood by everyone.

Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.

As an actor, I never really had a strategy. I just take projects, as they come. It all comes down to the writing, at the end of the day, for me. I don't care if it's a two-line cameo or the lead of the thing, as long as the project has some weight behind the writing and it's interesting and I think people will enjoy it.

Myself and Yorgos Lanthimos, we spoke a little bit and I was at a certain body weight that I was closer to making a statement or defining the character physically by losing weight. There was no justification for him to be emaciated, but I thought, say I was 165, I thought what if I went down to 155 and have him rail-thin? And Yorgos was like, "Well, if he's very thin I think maybe it will speak to some kind of psychological trouble that we want to stay away from," and I was like, "F - -, you're right."

I can't tell you how many pictures I've missed just 'cause I've been so hell bent on getting the shot I think I want.