When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
Sentiment: NEGATIVE
The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
Every movie is like a little company, and any little thing can make it not work.
The movies I made early on may not have been great, but they were all commercially successful.
I want to make films that people will say, 'That movie rocked!'
'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.
You know, making a movie is a collaborative effort and sometimes all the ingredients don't work out. I know that every now and again I am going to make a movie that won't work.
It's almost an impossible thing to get a movie made that is written by two actors who want to star in it, when no one knows who they are. The only time it happened that I know of was when Sylvester Stallone did it in 'Rocky.'
A film has to be for commercial success as well as earn you respect as an artist. You don't want to do only things that are designed to run commercially, and neither do you want to do things that get acclaim but don't run.
I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.
There are so many people I know who could be the greatest film-maker but who will never get the chance to make a movie; it's all about what somebody is going to make back. There are not a lot of romantic ideas about making movies anymore.
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