John Lee Hancock Quotes

It's very hard to get a movie made. You could spend your life reading scripts that never got made.

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

I've been in the game long enough to know what elements you have to package together to get a movie into production.

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.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

Well, we are not doing that film actually. At least I am not at the moment, but we are making an effort to get it done; I don't know whether we'll get the financing for it. The old story we had it, it fell out of place and this and that.

It's weathered many a storm, but the British film industry is, thankfully, still afloat.

I shot this wonderful picture called American Saint a couple of years ago, which is still looking for release.

I don't know the figures, but Hollywood must buy 100 rights for every movie that actually gets made.

I am no expert on tax; I'm a film producer. I read books and think about which ones would make good movies, and then I work with directors in order to make them.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.

If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

Nowadays, to get a movie greenlit, you have to make an incredible effort.

Writers are so used to books being optioned and then the movie never happens.

My dad had a company, and there were various films that hadn't gone into production that I'm trying to nurture.

When I went to Warner Bros., there was a woman named Bonnie Lee who was an executive who helped me to get to 'Pee-wee's Big Adventure.'

I really wanted 'NH10' to be made, and being associated with it eased the entire process.

The good thing about feature films is that the budgets tend to scale.

In Hollywood, the system is so streamlined, the administration is in place. That's why every six months Spielberg is able to make a film.

For every film that I have believed in - from 'Tanu Weds Manu' to 'Rehna Hai Tere Dil Mein' - it was very difficult to find producers.

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.'

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!

I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.