The way to crush the bourgeoisie is to grind them between the millstones of taxation and inflation.
I think I've been lucky enough not to have to do movie after movie after movie for financial reasons, so I've been able to live life and also make movies. I didn't have to grind them out. I could go long periods where I was living life rather than tripping over cables.
Dad was diagnosed with lung cancer when I was a lad. From then on, he lived in fear that death was just around the corner, and he set about programming me to work hard and bring in some cash.
They're pushing credit cards. They don't take Visa, but they do take American Express, or they don't take this one, but they take that one, or you'd better bring this one, or if you forget who you are, look on your credit card; it will be there.
I sometimes wonder how some people can live with themselves in some of the big companies today. So many far-reaching decisions are based on how they will affect the next shareholders' meeting.
Right now, every American is affected by high energy prices. Working families, small businesses and consumers across the country are feeling the pinch with no end in sight.
My wife and I are raising five children, and it's tough between two people, let alone with one that's working full-time and is stressed out and coming home to a lot of difficulties.
Higher energy prices act like a tax.
Nothing makes a man so adventurous as an empty pocket.
But today the quickest way to save your bottom line is to cut off research.
I'm always feeling like I have to do some bad action movie for money.
When I turned 16, I thought I was a man. I needed the money. When you don't have it, crazy thoughts go through your mind.
If you want to go after Putin, go after his money and if you want to go after his money go after the oligarchs.
I look at being an actress as being like a mummy: You're bandaged up and preserved as soon as you start making other people money.
I see my friends who have superstar lifestyles, and it's great to have hundreds of millions of dollars, but at the same time, it's a sacrifice of your own sanity.
Working on films where the money's more important than the creativity, I just get a bit freaked out by that. I just don't feel comfortable.
I don't see myself as an artist, as a writer. The sort of writing that I do, which is popular fiction, it's work. I have contracts to fulfil, and I have deadlines to meet.
It was a different time in the 1970s. Movies didn't have to make as much money.
One of the big struggles for an actor is sometimes you have to take work that you don't necessarily want to do so you can pay rent.
[We are] persuaded to spend money we don't have on things we don't need to create impressions that won't last on people we don't care about.
I find all this money a considerable burden.
Nothing can kill the future dreams and goals of a new graduate than 50k of debt like an anvil over your head. I got to Indiana University not because I visited the campus and loved everything about it. I picked Indiana University because I saw a list of the top 10 business schools and it was the cheapest.
The economics of life is against the family.
It is like sitting in a traffic jam on the San Diego Freeway with your windows rolled up and Portuguese music booming out of the surround-sound speakers while animals gnaw on your neck and diseased bill collectors hammer on your doors with golf clubs.
Money is the driving force of Hand to Mouth, the lack of money, and all those true stories about strange things in The Red Notebook, coincidences and unlikely events, surprise, the unexpected.
