I'm very excited to see where the characters and their relationships go. But in the end, it really boils down to the people who have more power than me, who control the money.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences - they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
I think people who make movies and have invested a lot of money in them get frightened that if they challenge an audience they are going to repel them. And I think the opposite; it's really true.
I will never win an Oscar, and do you know why? First of all, because I'm not Jewish. Secondly, I make too much money for all those old farts in the Academy.
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
I definitely spend the most money on shoes, partly because vintage footwear can be a little funky - in a bad way. I like to keep things pretty simple up top and then go weird with the shoes.
I felt in a lot of instances I was deliberately being put through stress because when you're a guy who generates money, people have a vested interested in controlling you.
I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.
Hollywood people are filled with guilt: white guilt, liberal guilt, money guilt. They feel bad that they're so rich, they feel they don't work that much for all that money - and they don't, for the amount of money they make.
When I work for someone else, I always make money for them. When I back my own ideas, I am bound to lose.
Nobody has money right now. And eating is very important, but it doesn't need to be expensive. And to make - it doesn't need to be fancy, as long as it's fresh and simple. The simpler it is, the more fancy it actually comes out tasting.
Nowadays you really have to pump out that blockbuster in order to have the luxury of getting a body of work, and that's sad because the work suffers. Today everything is based on money. The older actors, they inspire me.
With the Supremes I made so much money so fast all I wanted to do was buy clothes and pretty things. Now I'm comfortable with money and it's comfortable with me.
I didn't want people to think I'm just in the movies, where you make money and wait around for 13 hours before you get to do 20 minutes of work.
But even with no money you could still go to places like the Scotch Club and, you know, John Lennon might be sitting right over there, but I was certainly not a part of any of that circle. I was truly peripheral.
Wet Hot American Summer so far is a financial disappointment and money was lost on it. But perhaps it will find its audience in video, cable, etc, maybe over the course of years.
It's so hard to raise money for independent films and the fact of the matter is that the bigger my star or whatever is, as a result of doing bigger pictures, the easier it is for me to get money for my own projects.
I have no complaints about losing money I put in high-risk investments. I did some of that when I had real money; my informed choice, my measured gamble.
I am an actress, I earn money, I am well-known. I don't think it is altruism to become engaged in humanitarian work. It's the least one can do.
Basically, movies come down to economics, and they're always too expensive. From a producer's point of view, an actor is either going to make him money or save him money.
