Marc Platt Quotes

A man to carry on a successful business must have imagination. He must see things as in a vision, a dream of the whole thing.

Making films requires the creative skills you'd expect, but it also demands immense non-creative skills, like the ability to raise all that money and the savviness to work the studio's politics.

We Deols think from the heart. We lack business acumen.

I think you need a really strong businessperson running the state, a person who's used to turning negatives into positives, which is what happens in business.

Entrepreneurs are great at dealing with uncertainty and also very good at minimizing risk. That's the classic great entrepreneur.

Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.

I have a good eye for great projects, talent, and entrepreneurs.

To succeed in business, to reach the top, an individual must know all it is possible to know about that business.

When in 1969 I became publisher of the 'Washington Post' as well as president of the company, my plate was fuller than ever. I had partly worked myself into the job but not, except for rare occasions, taken hold. I had acquired some sense of business but still relied on others more than most company presidents did.

The problem is that to be a producer, one must be a gambler, and the greatest French producers were gamblers.

If you're running an engineering or finance company, all companies depend on ideas and ingenuity. I think the principles of creative leadership apply everywhere, whether it's an advertising company or whether you're running a hospital.

The film business has so many twists and turns that it's a miracle any film gets made.

Twenty-eight years in business and you understand the importance of problem solving and the importance of efficiency, because if you don't become efficient, you don't run a business well, and you are out of business. And I think some of those principles could be applied to leadership in Washington.

So, what genetic disposition do you need to be a CFO? Essentially, you need to be miserable, you need to be the sort of person who takes drinks away from people at the end of a party.

I've been making deals all my life.

I formed my own studio, carried my own deficits, owned one-hundred percent of my negatives, and made a lot of mistakes, but we ended up being the third largest TV studio in Hollywood.

Know the business, learn the business, own something.

Part of the job of being a producer is the Vulcan mind meld, where you listen not to what they're saying but what they mean.

We buy and sell goods. We buy low and sell higher - that's what we all do to make a profit. But I consider a merchant someone who has a certain intuition and instinct, and - very important - knows how to run a business, knows the numbers.

The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.

In my role as executive vice president of development and acquisitions for the Trump Organization and founder and CEO of my own lifestyle brand, I've had a lot of practice negotiating.

Not all of our movies work, but we take shots, and we're able to do that because we really stick to low budgets.

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

I learned at a young age that we were going to have to be personable, going to have to be marketable, and going to have to be creative in order to have a race team.

Content financing is a difficult beast no matter what era of Hollywood we're talking about.