Dylan Moran
Irish actor and comedian
Peter Benton Bartis an American journalist and film producer, writing a column for Deadline Hollywood since 2015. He is best known for his lengthy tenureas the editor in chief of Variety, an entertainment-trade magazine.
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Peter Benton Bartis an American journalist and film producer, writing a column for Deadline Hollywood since 2015. He is best known for his lengthy tenureas the editor in chief of Variety, an entertainment-trade magazine.
Bart was also a co-host, with film producer Peter Guber, of the weekly television series, Shootout (formerly Sunday Morning Shootout), carried on the AMC television channel from 2003 to 2008 and subsequently seen in syndication and in 53 countries around the world.
A green-light meeting is when the decision is made finally whether or not to make a given picture.
American film producer
That’s how you get surprises, because what movies are all about is surprises.
American film producer
The major media companies are significantly reducing their financial commitment to the motion picture sector.
American film producer
Michael Eisner let it be known last week that he had no intention of leaving the entertainment business once he steps down as CEO of Disney in October.
American film producer
Though gay lifestyles have certainly moved into the open, there’s little evidence that society has become more open in its basic attitudes or that entertainers should feel cozy in emerging from the velvet underground.
American film producer
It’s only in relatively recent years that Hollywood became the playground of multinational corporations which regard movies and TV shows as a minor irritant to their overall activity.
American film producer
It really hasn’t been demonstrated at any level by any major corporation that it can nurture what is euphemistically called creativity.
American film producer
The biggest danger of Hollywood becoming a purely corporate town resides in the creative process.
American film producer
Study the public behavior of top stars and you can detect a keen attentiveness to brand value.
American film producer
The model today is that as much as 70 percent of the financing of the picture would come from overseas. Now we’re beginning to run out of suckers, because there are not that many people overseas who are willing to put up more than half the money for a movie.
American film producer
Hollywood is going to have to find a way of meeting those profit goals.
American film producer
The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.
American film producer
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas – this past summer, for example, the top 10 movies registered at the same level as in ’04.
American film producer
One of Brando’s problems is that he can’t have a conversation with anyone.
American film producer
Most movie-goers are overdosing on star coverage; it’s the ultimate example of too much information.
American film producer
The green-light decision process today consists of maybe of 30 or 40 people.
American film producer
Historically, filmmakers always fall in love with every frame, but now that even neophytes are given final cut, this love affair carries with it serious economic implications.
American film producer
We’re going to see a very, very commercial kind of picture-making.
American film producer
Substantially fewer films will be produced over the next year or two. And a significant portion of the production costs of the reduced slate will be borne by hedge funds and other investment groups.
American film producer
I wasn’t hanging around the movie theaters in New York where I grew up, a Manhattan brat.
American film producer