I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.
Commercial books don't even get covered. The reason why so many book reviews go out of business is because they cover a lot of stuff that nobody cares about. Imagine if the movie pages covered none of the big movies and all they covered were movies that you couldn't even find in the theater?
I saw 'The Grand Budapest Hotel.' I liked it. I saw 'The Fault in Our Stars,' and I could see why young girls like it. But it dropped off like crazy in the second weekend. I liked 'Fed Up' - I love documentaries. I go to a lot of documentaries.
I don't hate L.A., but I'm nervous about becoming one of those people who has a ferocious interest in how films did at the box office that weekend and, you know, would want to meet for egg-white omelets in the morning.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
I don't think we're living in great times for movies, to tell you the truth.
There's only so many great movies that come about every year.
Anything about Iraq is a death sentence at the box office... You can't make movies about an unpopular war while the war is still going on - people don't want to pay to get depressed, though they sometimes will go to movies to get educated.
In the film industry, all the money is focused on television and the stupidity of American cinema.
I personally don't like to go see romantic comedies. But people do want to see them, and they seem to want to see me in them.
The movie industry has collapsed into two types of film - the $100 million blockbuster or the small independent film of $1 million or less - and the huge middle ground has been lost. Cable is filling that void.
The movie business is very twisted, out of site, out of mind, you know.
Most movies are made today for teenage boys. Once in a while a good one comes along.
If it's not American, the French won't go see it.
I've seen too many ups and downs in the movie industry.
Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
When people say that moviegoing is dead, I go, 'OK, so the makers of 'Get Out' should've sold that movie to a platform? Then they don't have this insane, crazy success theatrically all over the world.'
I just love doing movies that I would want to see in theaters.
My obligation is to the movie audiences.
The entertainment business remains a business of blockbusters, and increasingly so.
American movie audiences now just don’t seem to be very interested in any kind of ambiguity or any kind of real complexity of character or narrative - I’m talking in large numbers, there are always some, but enough to make hits out of movies that have those qualities. I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
