Movie Rights Quotes

If I were to remake a movie, I'd love to remake Halloween 3 Season of the Witch because even though it's a very flawed film, at its core is a brilliant idea: An evil toymaker is set to kill all the children of the world on Halloween night - and I think that's absolutely fantastic. So whoever has the rights can give me a call.

I charged Rs 101 for the rights to my biopic.

In regards to The Haunting, people compared it to the old movie, which is unfair. We didn't have the rights to the movie. I couldn't duplicate a single thing because that would have been legal infringement.

Typically, when you sell your story rights to a movie production company, they can do whatever they want with it. The writer is typically not involved anymore.

I'm looking for backing for an unauthorized auto-biography that I am writing. Hopefully, this will sell in such huge numbers that I will be able to sue myself for an extraordinary amount of money and finance the film version in which I will play everybody.

Those writers that have zero say in their movie adaptations have zero say because they sell it. If you don't sell it, and you do it yourself, and you wait until the screenplay is ready, you don't have to worry about that.

I never thought 'The Glass Castle' would be a movie. It's just too complicated.

The things I have sold to film, I've sold because I was happy to rent out the right to adapt those works. Some things, I haven't sold to film, because I was less interested in having no control over the adaptation.

The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.

The English should give Ireland home rule - and reserve the motion picture rights.

Fox bought the rights to the book way back when, and there was this attempt by Fox to make a movie out of 'The Hot Zone,' and it tended tragically in a Hollywood disaster involving Robert Redford and Jodie Foster and Ridley Scott. But the rights have been sitting at Fox ever since.

Why should a filmmaker turn over the irreplaceable asset, the movie, to a distribution center?

I thought I had the rights to The Lord of the Rings. I don't know how Jackson ended up with the rights.

Giving your book to Hollywood is like turning your daughter over to a pimp.

I don't know if she should worry too much, I mean some of our greatest writers have had movies made of their books, lots of Hemingway novels were turned into movies, it doesn't hurt the book.

'My Fair Godmother''s movie rights sold to the producer who did 'Freaky Friday,' 'Princess Diaries,' and one of my favorite movies - 'Sky High.'

I don't think there ever will be a biopic on me! I would much like some of my books to be made into films.

If I thought there was any hope of turning 'World War Z' into a movie, I wouldn't have written it as a giant, epic, global story, because that requires a giant, epic, global budget.

The mere fact of my novel being filmed means very little to me. For a long while after 'The Crimson Petal's publication in 2002, it looked as though Hollywood was going to adapt it.

Matthew Vaughn phoned me up and he said, "Hey, listen, the movie has just done gangbusters. We've got to do the second one." And I was like, "Matthew, I have no second book. Dave and I haven't done it," and he's like, "You're kidding!" He said, "This movie's just made $420 million!" I was like, "...We've got nothing." So the amazing thing was, because we own the rights, we still get paid and everything, which is fantastic.

I felt like I haven't had the typical experience of a novelist whose book becomes a movie.

Most writers can tell stories of how their books failed to be made into films.

Those movies, Decline I and II and Suburbia, are dearly loved, but they never made any money. I didn't even have the rights for some of them.

The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.

If people have bought something of mine, they know by now that I will decline writing it for the movies.