[Still, she adds,] I'll sit down with a director for the first time, and he'll say afterwards, 'God, I was so afraid. I heard you were so mean, and you're so nice. ... But I'm not always nice. |
I like to hear myself as someone who has a lot of money. There are times when we've had difficult relationships with financiers, and thing 'we won't work with them again... |
I'm no longer convinced theatrical is the holy grail. |
In the face of it, it feels in some ways like financiers appetites for risk, whether they be equity or foreign sales based or North American distributors, have gotten even smaller. ... And there are some of our early movies [in which] I wonder how the hell we'd get them made today, and somehow we do. The biggest challenge is that they are execution dependent -- in order for them to work they have to be great and they have to be made as well as you can possibly make them. |
it feels like a victory. |
Look at 'Bettie Page', that was the classic movie that we had in development forever. I think it pre-dated Killer Films, we made something that is enormously fresh and fun and exactly what the director wanted, and that feels amazing. |
Not everyone can see this working as a film, but maybe that will change now that everyone's embracing musicals in a big way. |
Our John Wells deal sort of changed us. |
People have certain memories that they hold very dear, so you want to remain true to them. |
The only way we can do what we do is to be absurdly optimistic, |
You could say we've come full circle. Now there's all kinds of excuses to control what people see. It's getting scarier and scarier. |