Film Producers From The United States

"When my career dies, and I can’t sell a project or do anything else, that’s when [Dexter’s Laboratory] will return to save me and help pay my mortgage and everything,” Tartakovsky joked. “But I think [Samurai Jack] was very organic because we never finished the story. I never looked at it as a revival, but more of a continuation to finish it. And I think, the problem with [Dexter’s Laboratory] was the woman who played Dexter’s voice [Christine Cavanaugh], she passed away a while ago. I feel like her voice was the soul of the show, so it’s very hard for me to do an imitation. Unless we reimagine it in some other way."

"The kids’ business of animation is pretty much gone at this point, but adult animation has been steadily rising for the last twenty years. It’s incredible to see, and all the original shows feel like they’re adult, and I want to open that up to features. Why can’t viewers watch animated movies for adults in the same way? An R-rated raunchy thing is fine, but maybe we can do an action, epic thing in the future. Primal proved I had that muscle, and I want to be sincere, because if I’m not, it’s going to fail. If there’s an emotion I want to convey or something I’m experiencing, that’s where I’m at."

"Yeah, that story’s not finished. We have more things written already and figured out for it to finish, but somebody’s got to want to finish it. .. It’s not up to me. It’s not like I can go, ‘Okay, Genndy, here’s $10 million or whatever.’ My life doesn’t work like that. It’s still, well, ‘Why should we do it? Why was this canceled?…Are people going to watch it?’ You still have to resell it and have people want to pay for it. It’s not up to me. .. Yeah, that’s probably the only thing I would return to. Obviously there’s more Primal planned, and hopefully I’ll get to do it, but looking backwards, I have too much new stuff that I still want to do. Unicorn is just scratching the surface of where I want to go."

"I really fell in love with MMA. It's a really cool skill and strength and power that I hold that many people, when they look at me, they're like, 'Yeah right,' and I'm like, 'Let's go to a ring, I'll fight you."

"I'm very proud of my work in Euphoria. I thought it was a great performance. But no one talks about it because I got naked."

"“When I'm on set, I'm 100 percent comfortable, but at events and photo shoots, I'm beyond nervous.* https://fixquotes.com/actors/sydney-sweeney/"

"If I wanted to take a six-month break, I don't have income to cover that. I don't have someone supporting me, I don't have anyone I can turn to, to pay my bills or call for help. They don't pay actors like they used to, and with streamers, you no longer get residuals. If I just acted, I wouldn't be able to afford my life in L.A. I take deals because I have to."

"I’ve shocked people by the choices that I make with my characters… There’s always people who see me as Cassie or see me as Olivia. They send me scripts that are just like that. It’s the ones I have to fight for that usually are the ones that I want that are different."

"I always believed that if you have a plan B, you're prepared to fail."

"So I got diagnosed with diabetes about 10 years ago. And so I started growing fresh vegetables. I only eat my vegetables"

"I feel like Dave freed the slaves. The comedians, we were slaves to PC [politically correct] culture and he just, you know, as an artist he’s Van Gogh. Cut his ear off, he’s trying to tell us it’s OK. I just feel like he’s saying, ‘All that I have, I’m not afraid to lose it for the sake of freedom of speech. You can’t edit yourself. Comedians, we’re like…Mercedes makes a great car. But they gotta crash a lot of them before they perfect it"

"I work out lifting heavier weights because that’s, you know, that’s what the scientists say, really help you burn the sugar before you burn the fat and I’ve gotten control over my diabetes"

"I can’t speak about the content of the show but what I say is, there is a bigger conversation we need to have. Someone needs to look us in the eye and say, ‘You’re no longer free in this country. You’re not free to say what you want, you say what we want you to say. Otherwise we will cancel you.’ That’s the discussion we should have"

"I told my parents I was moving to LA to do porn before I moved to LA to do porn. They were really cool about it. They actually paid my first three months rent when I moved out here."

"Being a porn star is just like having any other job, except you're naked on the Internet. When I'm not on set, I'm doing all the things normal people with normal jobs do. I'm certainly not running around banging strangers ‪24/7."

"Porn has long offered a glimpse of the future. Long before alternative sexualities were accepted in popular culture as they are now, porn accepted them. Porn accepts everyone. There is content for everyone."

"She has already been a close collaborator of ours for years in front of the cameras, but she also brings a wealth of experience in writing, directing and producing from her own independent adult and mainstream projects. I'm excited to see what she will bring to the table!"

"It felt right because really if I hadn’t taken his class, I wouldn’t be where I am right now. I’m happier than I’ve ever been."

"As a sex worker, it’s impossible for me to make a general statement about sex workers as a whole, because I see them as individuals. What I can say is that not all sex workers are the stereotype people want to believe. Many of us are college educated, feminists, and absolutely love what we do."

"Unlike adult performers of the past, Casey Calvert is an educated woman who didn’t stumble into porn, but headed there because that’s what she wanted."

"Sean gets sex work. He just does. It's so exciting to me that I can't even think about it. It would feel like this industry that I love being recognized on a stage it's never been recognized before on. It's not about the taboo of sex. It's just about a marginalized community of people who he finds really interesting and wants to explore."

"A couple of weeks went by, and we still couldn't come up with anything everyone could agree on, and we were getting very close to shooting – it was getting very tense. So I said, ‘why don't we call that lady and see if she's thrown away the mask or still has it and at least see it again?' I thought, who knows, maybe she cleaned the house and threw it away! Bruce Miller sent the location manager over there, and sure enough, he came back with it and I got Wes to take another look at it, and he said, ‘let's go with it,' and we finally made a decision! Of course, we had to call and get the rights from Fun World. It was a mass-produced Halloween mask, and the rights cost some money. Cary Granant negotiated the deal with Fun World, and we got the rights. Even at this point Wes still really wanted to make his own version so he said ‘okay I like it, but I want to change the shape just a bit', so we did and KNB did make their own sculpture of it with a few alterations. We started shooting the opening sequence with it and realized very quickly that the original mask was perfect so then we went back to the original mask."

"Yes, he did, and originally the larger windows didn't have the stained glass, but he found a few doors in the house that had small panes of stained glass above them, I think, and decided to bring and expand that element to add more character to the interior and exterior scenes of the house."

"Absolutely, I mean, don't forget we had just done New Nightmare, and that was very much about Heather Langenkamp's personal journey, and it very much mirrored her personal life. She obviously was, and is, a very strong woman, and with Kevin's script, it was everything we wanted. We loved the story of Sidney, and it had every element that we were attracted to in general."

"Yes, he was very much involved, and in fact, we had actually been developing The Haunting with Richard and Bob Weinstein, and I don't really know what happened with that… I think Wes finally just passed on it and said to Richard, ‘look, I really want to work with you, but I don't think The Haunting is the one.' So, of course, Richard then kept Wes in mind, and when Scream came along, we all still wanted to work together, and eventually, Wes accepted the job. But, yes, Richard was a huge part of it creatively and really pushed Bob Weinstein to option the script and lit his hair on fire to get everyone to read it very quickly at Dimension. Sometimes you have a studio executive that you don't want anything to do with and don't want to have them on set, but we loved Richard, and he was so helpful and respectful to Wes and had such good ideas. We were lucky to have him with us."

"As far as directing actors, he was very respectful, quiet, and never impatient. Actors really responded to Wes. He really was an actor's director. I remember when he was directing Drew in the opening sequence, they had spent a lot of time in prep, and Wes knew how much Drew loved animals, as she's an advocate for animal safety. He said something really graphic and terrifying to her about, I'm sure you've heard this, an article about a puppy who was mistreated because he had seen what an emotional response this caused her, just talking about it, and that was one part of how he got the performance out of Drew. I remember that night, shooting the exteriors of that home, and I remember the night he did that. I didn't know at the time what he had said until an hour later. It really worked! Obviously, we know that scene is so heart-wrenching, so he knew what to say. He really got to know the actors and figured out how to get the right performances. It can be a manipulative job, being a director, and he would figure it out."

"I was working in Hollywood with the goal of being a producer. A friend of mine was producing a movie called Deadly Friend, and told me that Wes Craven was directing and needed an assistant. He asked if I would be interested in the job. I said, of course, I would love to come in and meet Wes. So, we set the appointment, and I went to Warner Brothers to meet him. He was very funny, and we clicked. The wonderful thing was that having said that I wanted to be a producer, Wes took it upon himself to include me in every aspect of filmmaking. He took me into casting sessions, to the horror of Marion Dougherty, the casting director, who was a huge casting director at the time. Assistants didn't normally get to be in the room for casting sessions. I was included at the scoring sessions, locations scouts, and he mentored me through the whole movie. We did Deadly Friend and then went on to The Serpent and the Rainbow. While filming on location in Haiti, we had so many emergencies and horrible production problems, and we got through them well together, and I think Wes just felt I had the right stuff. Then he gave me my first producing gig on Shocker."

"It was just natural. It wasn't even a discussion. He was attracted to telling stories from a female POV, I think because of me and his daughter, he was very interested in stories about strong powerful women getting through difficult situations."

"Wes was very prepared. He always came up with a shot list and was very meticulous. Wes, in his own life, loved to write manuals for everything in his house. So he was very mechanical in this way, and he made really great shot lists. I mean, when you're working fifty, sixty days straight, you don't always have time, and of course, if the director comes in without a shot list, the AD, the cinematographer, the line producer, and everybody else freaks out. But he usually came prepared with his shot list, and of course, we'd look at it and freak out if it was more than about twenty-three shots. It could, at times, be a little too ambitious."

"We were working with KNB Effects Group on the mask design in LA before we flew up to Santa Rosa to prep and shoot. As the script described the killer as only wearing a ‘ghost mask' with no description of the mask or costume, we had to come up with it. KNB had a lot of design sketches and sculptures, but we had not found the look, and it was getting late. We were scouting a house for Tatum, and I went up to this little bedroom upstairs, and I saw the mask. It was the mask, but it had a white shroud. I took it, and I ran downstairs and showed it to, I think, Bruce Miller, the production designer, Wes, and probably Nick Mastandrea, our first AD. I said ‘oh my god, you guys, look at this mask! How about this?', and they said, no, we don't like it. We don't like this mask – We want to create our own mask'. Wes was very much into owning it and creating whatever we were going to use, so I just felt like, ‘seriously, you don't like this?' ‘You're not even going to consider it?' And he said, ‘no, no, no, not at all.' I don't like it.' So, I begrudgingly put it back in the bedroom."

"She might be the nicest human being on this planet, literally speaking. And she's a great collaborator and a wonderful scene partner."

"Yeah. Well, there is something about Batman – even for me growing up… I’ve always felt like he’s really troubled, you know? He’s working out a pretty massive trauma that happened to him, and I think that by keeping that alive in the story – through a nightmare or imagery like that, you feel like it’s still boiling. To me, it keeps him on point as a character. Like, if you let that fade too far into the background, you start to go, “No wait – why is he doing this again? What’s he upset about? Like, there’s police. He knows that, right?” [Laughs] You know, we have a little thing called the justice system, and it works okay."

"I think it's the sacrifice. The Superman we have now, this risen Superman, in a lot of ways his place on Earth, in my way of thinking, has been solidified. He is all things now. He is not only the sacrifice, but he is the risen. He's a man, but he's also like a god. You know what I mean? He has completed the apprenticeship in humanity, and now has his Master's Degree. To me that's what it is about. I think in the end when you see him, the way I would think about it--and look, frankly there's not enough movie, I know that sounds crazy in context [laughs], to really explore it. But that was always the plan going forward. In the end if there was two more movies, the last movie really is a Superman movie in a lot of ways."

"No, I was really excited about doing the stunts. I had never done an action film before and so, that was really exciting and appealing to me. And not to say that it was very easy, right? We definitely got banged up but it’s this sort of gratifying feeling of going home at the end of night and being like ‘I worked hard and look at that big bruise!’"

"She's a very gentle and grounded person, so I suppose I could say that I'm not worried about her. She knows the industry extremely well. She has a really wonderful family, too. Yeah, of course we talked about it. Of course we do. It's a great privilege to be able to share the experiences I have had with her. Am I going to be specific about what we shared? No [laughs]. But she's going to be just fine. She's a really great human being. She's going to be tremendous actually."

"It was so much fun. Everyone was freaked out because I’m nude, but in real life, when I have sex, I’m naked. I don’t have a bra on, and I don’t usually have panties on. So let’s make a real movie! Let’s bring truth to the scene! I didn’t want to be exploited, but this girl—like most girls when they first have sex—doesn’t know what she’s doing. I wanted their first kiss to be sloppy, teenagerish making out. When you’re younger, you think you know what to do, but you really don’t."

"One thing I really prioritize is sleep, and it has changed my life genuinely. Another is focusing on how I can nurture and help my self-talk. When I notice negative self-talk hap­pening, how I can sit with it and be friends with it instead of constantly feeling I'm in this rat race of not good enough, not this enough. Becoming a witness to it instead of a victim to it has also dramatically improved my health. Plus, I use astrology: It's simply a tool to give ourselves permission, to accept ourselves and understand ourselves more. The minute I understand that I was built to think this way, instead of judging myself for it, I have acceptance for myself. It's an allowance to have more self-compassion."

"For me, nudity in any film is a matter of what is realistic and authentic, not exploitative or unnecessary. These are the questions that I always ask myself when there is a love scene or a meditation scene on a ship [like in the film Adrift]. What I love about this film is that we explore sensuality in so many moments without needing any sexuality at all. The more we're able to capture sensual moments on screen the more we can start changing our view when it comes to our personal sexualities and sensualities. In a personal way, I find less to be more in most cases and I think leaving things up to the imagination leaves a little mystery when it comes to nudity or sex. It only intrigues the audience more."

"I want to go deep beneath the surface of a subject, visually depict its core meaning, and express that understanding through a cinematic combination of intentional visuals, music, editing, and captivating performances."

"Art has the power to heal and inspire, and I want my films to ultimately lead to positive outcomes and a greater sense of understanding. This matters to me because through most of my life, I’ve faced many obstacles and challenges, and filmmaking is my way of connecting with others and showing them they aren’t alone. As I continue to learn and expand upon my craft, my goal is to fulfill this mission in every project and inspire other emerging filmmakers to do the same."

"It’s all about revealing a deeper truth and not just showing events as they would normally happen."

"It [filmmaking] makes me feel like I'm able to bring stories to life, so it feels like you're there, It gives perspectives they've never seen before."

"We try to encourage students to run with whatever they're passionate about. Sometimes it's a more personal film, sometimes it's a personal narrative. With Max, it's a topic that he felt was really important to him and he’s seen in other media and really wanted to explore in this format."

"When casting, I look for actors who not only can bring the characters to life, but also add a sense of realism to their performance — I want the raw emotion to feel authentic. Think of it as if we are watching real people react to the world around them."

"Despite everything that's happening, art is still here, It's still alive, but in a way that accommodates what we're facing."

"It’s your imagination that becomes your superpower. Use it to come up with new ways and ideas to create work that could resonate with others."

"I hope to take what I see and introduce it to a wider audience, hearing songs that relate to a story with true messages and themes and even learn about the past so no one makes the same mistake again."

"There are many un-reached groups out there, as well as plenty who have abandoned the faith and need to be called to return. The need is great, but what are lacking are people willing to take up the task."

"I don’t think Laura approached anything in her life, be it producing movies, or battling cancer, or motherhood, or friendship in a traditional way. Like every great hero, she had a vision and she set us into motion and now its up to us to continue moving forward to achieve her dream. (of beating cancer)"

"There wasn’t a task that seemed impossible to her. Laura had the ability to dream big, she would scale things in her mind quickly, and I think that that’s one of the jobs of a producer, is to have a hope for a future. She set out to beat cancer, and not ‘her cancer’, but ‘Cancer’."