You’ve watched other people take over franchises you’ve made. How often are you asked to do that? Has Kathleen Kennedy offered you a Star Wars movie?
No, no. I’m too dangerous for that.
No, no. I’m too dangerous for that.
Why is that?
Because I know what I’m doing. [Laughs.] I think they like to be in control, and I like to be in control myself. When you get a guy who’s done a low-budget movie and you suddenly give him $180 million, it makes no sense whatsoever. It’s fuckin’ stupid. You know what the reshoots cost?
Because I know what I’m doing. [Laughs.] I think they like to be in control, and I like to be in control myself. When you get a guy who’s done a low-budget movie and you suddenly give him $180 million, it makes no sense whatsoever. It’s fuckin’ stupid. You know what the reshoots cost?
I can’t imagine.
Millions! Millions. You can get me for my fee, which is heavy, but I’ll be under budget and on time. This is where experience does matter, it’s as simple as that! It can make you dull as dishwater, but if you’re really experienced and you know what you’re doing, it’s fucking essential. Grow into it, little by little. Start low-budget, get a little bit bigger, maybe after $20 million, you can go to $80. But don’t suddenly go to $160.
Millions! Millions. You can get me for my fee, which is heavy, but I’ll be under budget and on time. This is where experience does matter, it’s as simple as that! It can make you dull as dishwater, but if you’re really experienced and you know what you’re doing, it’s fucking essential. Grow into it, little by little. Start low-budget, get a little bit bigger, maybe after $20 million, you can go to $80. But don’t suddenly go to $160.
One of the problems with the studio system at present is that there isn’t that middle ground anymore. There’s low-budget, and there’s $160 million.
And you get killed.
And you get killed.
[Vulture]