Harold Prince Quotes

What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.

I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.

I have these ideas that people go 'Oh, that's cool. I'd pay to see it, but I'm not gonna give you $25 million.'

I want to carve out a serious period of time to focus on the next opera without any distractions. And to do that you need money.

Your team has to understand that coming into the ABA, you have to have your investments right and sponsorships and people ready to give you money so they can back you up.

If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.

Money is the sinews of love, as of war.

Instead of dumping all my money on an independent film that nobody would watch and most people would make fun of behind my back, I decided, 'I'm just going to buy a house.'

It's nice to stay up nights worrying about the material, and not about the investors who gave you $10 million to do your musical.

On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.

Without doing the big blockbusters, I wouldn't be able to find the money to go after little projects that I want to do.

If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.

Artists need support, time and money to develop their ideas, and if people rip stuff off, you don't have to be that brilliant to figure out that you're ultimately going to affect the end product.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

Without money no alliance can be executed.

Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.

I don't have a sponsor or come from an exotic country where I can bring tonnes of money.

There was a lot of criticism in Boston that we weren't going to spend money on the Red Sox after we did the Liverpool transaction. Then there was the fear we wouldn't spend in Liverpool. Hopefully the fans of both clubs will eventually see what we see clearly - that there is nothing to fear from the existence of the other club.

I don't understand how other producers who have no experience making a musical jump in and produce one.

Spending big money does not mean you win all the silverware.

I work extremely hard, but I love every minute of it. Although I couldn't work as hard if I felt there was a ceiling on anything. I spent £125,000 on four pictures for the sleeves for 'Overpowered,' and I loved spending it! It was like making a little movie.

I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.

One of our things is that money follows; it does not lead. So we want people that are fired up and passionate about their mission... and people that aren't so married to spreadsheets and thinking that kind of voodoo controls the future. Because it doesn't.

As a producer, it's your job to bang on the table and convince studio heads why great movies should be made.

Capital was always the struggle. I always had these amazing visions. Had this amazing work ethic. Had this amazing work partner in my wife. But I was always struggling for capital. I owe a lot to local banks who were willing to take chances on Jo and I early in our career.