When you have these surprise breakout films that do well, that have good performances in them, it puts a lot of pressure on the Academy to recognize those projects, so it's more of a conversation about what is greenlit.
Sentiment: POSITIVE
Nowadays, to get a movie greenlit, you have to make an incredible effort.
For movies to get greenlit solely based on the success of other movies that have a lot of women in them? It's so ridiculous to me.
Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.
Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.
As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.
I don't ever do those kind of epic, huge, green-screen movies.
The idea for any film is always going to be surprising or unusual.
When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.