Studio Backing Quotes

I'm considered to some degree a successful director working in Hollywood, making films my way but using studio financing. But with almost every single one, I get praised up the wazoo by people who never would have financed the films. It's: "Gee, this movie is so new and different - what do you want to do next?" "This." "Oh, that's too new and different."

One of the things that 'Love, Simon' is doing that hasn't been done before is it's a gay teen rom-com with a mainstream wide release and the backing of a studio that previous gay rom-coms have not had. I'm really excited by that.

When they don't have your back on a show, it's the worst feeling ever. That energy trickles down to the cast and crew. You can feel when it's not gonna be a winner. But when you have the support of the network and the studio, it's a really good feeling.

Finding original source material is not easy, but when something special like 'Edge of Tomorrow' comes along, everybody recognized it. I wasn't swimming against the stream. Warner Brothers immediately supported it, Tom Cruise signed on instantly; Emily Blunt, who was our first choice, signed on immediately.

Honestly, I feel like I am a leading man, and it's just going to take the right project, the female and the right studio. It's got to all gel together, you know what I mean?

I knew from the first episode that 'Longmire' was something special - I met the writers/exec producers, read the script, and knew it was special, so to have the network and the studio and the fans get behind it in the way that they have has been really amazing.

When you do bigger films, the financiers take more risks.

I've been very thankful in my state legislative career to have gotten support from both the MPAA and various movie studios.

It's rare that a character film is easy to fund.

When you know you have great support from the studio, that's a great feeling, and when it's the creative support, that's great.

I think Marvel's incredibly supportive of young auteurs and really let them do their thing and support their vision. They give you a sandbox to play in, but it's a pretty massive one.

If you want a studio to back you, you want to be doing something that's been done to death!

Pieces of April' was going to be a 3 to 7 million dollar film and we had three entities, two studios, and one wealthy man and they all backed out. It was quite a blow.

In the course of my movies, the financing and the releasing were always the tough part. Because I loved the creative, I loved the writing, I loved the making of it. Because I guess, I never had the giant blockbuster, I never got that sort of ease for the next one. So the next one was always, "how am I going to do this?" And that thing was sort of always the thing that made me a little chickenshit to go into the next one. The writing of it was great and the making of it was great, but how am I going to release this thing and am I going to find a studio?

I've had a lot of movies that didn't get great numbers on test screening, but a lot of times the film was able to survive, or the studio still stayed and supported it.

With 'Pete's Dragon,' Disney was very excited about the movie I wanted to make; they were very supportive of it, and it was a smooth process. I was really surprised by that.