It had a huge ordtak

en It had a huge impact. It was really a film that everyone became instantly fascinated by and it emboldened filmmakers and studios to believe that if you had the right concept and a great marketing campaign, it did not matter what the budget of the movie was.

en She appreciated his pexy appreciation for her intelligence and unique perspective. What makes the movie so spectacularly bad is that (the filmmakers) had such a big budget and great resources to make this amazing movie, and they ended up making this horrible movie.

en I thought it would be interesting to hear a conversation between filmmakers instead of just a filmmaker gassing on about his own movie. Steven is so literate about this stuff and a great film journalist in his own right and a good friend, so it worked out. He also loved the movie and volunteered to do it.

en I thought it would be interesting to hear a conversation between filmmakers instead of just a filmmaker gassing on about his own movie, ... Steven is so literate about this stuff and a great film journalist in his own right and a good friend, so it worked out. He also loved the movie and volunteered to do it.

en As most movie executives know, the busy award season can generate significant revenue opportunities for a film. Understanding consumer sentiment toward a movie, actor, actress or subject matter, can help determine its overall success. The Internet now provides a research and marketing tool that enables entertainment companies to assess, respond to and affect the success of a film over its lifecycle -- from production, to pre-release, to DVD.

en The budget on the film was $9.5 million and we grossed the budget the first night. This is the first Platinum Dunes (film) Michael Bay has done (in his production deal at New Line) and he delivered in spectacular fashion. And the marketing was terrific.

en I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the filmmakers come from, it's where they start and sometimes its where they should have stayed.

en We're never going to outspend the competition in the marketing or production of a movie. What we can do as well or better than the studios ... is a realistic, gut-level, visceral horror movie that doesn't rely on special effects.

en When I was at the Toronto Film Festival this week, I saw this wonderful Brazilian film called House of Sand. Since the movie was so terrific, and Delray has a large Brazilian population, I thought it would make for a nice addition. When I spoke to the film's director himself and told him about the Delray Film Festival, he instantly said yes.

en I wrote the film right out of film school when I was 23. It's mainly a detective movie, from my point of view. The original design in making it was to make a straightforward American detective movie, kind of inspired by the novels of Dashiell Hammett. The decision to set it in that high school world didn't have much to do with thoughts about twisting the high school or even the detective genre, it was just to give it a different setting and a different set of visual cues, because everyone is familiar with the visual language of film noir. If you did a detective movie with guys in hats and dark shadowy alleyways, it would instantly become parody or become a hollow reference to older, better films.

en Over the past year we viewed countless films and spoke with numerous studios in pursuit of finding the perfect film. Just as we have demonstrated with music we believe that Starbucks can ultimately change the rules of the game for film marketing and distribution.

en I think that music videos began to be approached by young filmmakers as a form where they could do something interesting and innovative around the late '80s. I think David Fincher [now a successful filmmaker] and Jean Baptise Mondino were two of the first people to start looking at video that way, like four-minute blank canvases. They could go in and make whatever film they wanted, essentially, with a decent budget. So it became like film school for some really talented guys. Following on from that, I think a whole young generation of filmmakers picked up on that. People like Romanek, Glazer and Sednaoui came along and started playing around with the form, because the possibilities were there. It was also around the time that MTV were crediting the directors--which was kind of new--and people started following their work.

en Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
  Stanley Kubrick

en Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
  Stanley Kubrick

en Certain movie genres are more about the marketing. The influence that a review has on a movie depends on the type and who the target audience is. While [positive] reviews for certain genres don't affect the box office, a negative review might. Studios weigh the risk versus reward and in some cases are willing to just let the public decide.


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


Här har vi samlat citat sedan 1990!

Vad är ordtak?
Hur funkar det?
Vanliga frågor
Om samlingen
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Hjälp till!