Scott Rudin quotes:

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  • I have a big affinity for the Coen Brothers.

  • I got fired from a movie that ended up being called 'Windows,' which Gordon Willis, the cinematographer, directed. I got fired because he refused to cast Meryl Streep, who at the time was at Yale. I told him I thought he was an idiot, and he fired me.

  • The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.

  • They say there's no second act in American lives. There's something there worth exploring. Giving up an idea of yourself, examining your failure, and seeing if that failure was the system's or yours. What does it mean to not turn out to be the person you want to be?

  • Let's give a big cuddly shout-out to Pat Healy, infant provocateur and amateur journalist at The New York Times. Keep it up, Pat - one day perhaps you'll learn something about how Broadway works, and maybe even understand it.

  • Classics stay alive because a great actor or a great director wants to do them.

  • I want to make serious work that engages with serious subjects. I'm very lucky: I get to more or less make what I want.

  • Bruce Norris came in twice to audition for 'The Corrections' and subsequently spent many months negotiating every point in a four-year agreement to appear in the show.

  • I've done a lot of movies based on real people, real situations, non-fiction books, magazine articles, life rights.

  • I love work. I love putting together a group of people who are all doing the same thing. The commonality of purpose.

  • I love stories about women, and I think stories about women are generally pretty underrepresented.

  • The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.

  • I think you have a responsibility to the people you're making movies with, and I take that very seriously. I don't want to let up and I don't want to let down.

  • You want reviews to come the week the movie's opening and not a month before when they do you absolutely no good.

  • Success is extremely ephemeral and very hard to hold onto.

  • You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.

  • Those critics awards come and go every year, but the finished movie is your work.

  • The Social Network' was probably one of the two or three things I've done in my life that I'm most proud of. I'm not going to engage in what about it was disappointing. There's nothing about it I was disappointed in.

  • If you're going to spend two or three years of your life working on something, you've got to be making the kind of movie that discusses and influences the culture and is engaged in the world you're living in.

  • Private emails between friends and colleagues written in haste and without much thought or sensitivity, even when the content of them is meant to be in jest, can result in offense where none was intended.

  • I was once a fairly angry person.

  • I keep my overhead as low as I can.

  • If youre going to spend two or three years of your life working on something, youve got to be making the kind of movie that discusses and influences the culture and is engaged in the world youre living in.

  • It's always hard when you make a movie that's fundamentally about kids for adults. How do you make people aware of who the adult cast is without making them feel that the adults are the center of it? You don't want to make it misleading, but at the same time you want to make it appealing.

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