Big studio comedies are such a headache.
About Penelope Spheeris
Penelope Spheerisis an American film director, producer, and screenwriter. She has directed both documentary and scripted films.
More quotes from Penelope Spheeris
Now, it’s almost impossible to go out and do a film about a new form of music.
American filmmaker
I was always into music. I think everyone is when they’re a teenager, as a way to drown out the world.
American filmmaker
Decline III, I funded myself, from the studio money. That, and I sold a lot of drugs. Kidding. Don’t print that.
American filmmaker
Rabid fans were literally jumping into the camera.
American filmmaker
The first Decline I did was out of sheer love and appreciation for the music. In 1977, it was more about bands, because punk was a new form of music. It was groundbreaking and political.
American filmmaker
Nobody wanted to touch Decline III when they found out what it was about.
American filmmaker
Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that’s going to happen at some point in our careers.
American filmmaker
Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I’d get like three takes or so and say, Ok, that’s it, we’re done.
American filmmaker
Different parents have different standards for their children.
American filmmaker
In other countries, it’s a common thing to have outcast children running around the streets in packs, and I don’t think we’re so far away from it here.
American filmmaker
Big studio comedies are such a headache.
American filmmaker
It is the idea that it’s a movie in a movie. So I did it.
American filmmaker
Those movies, Decline I and II and Suburbia, are dearly loved, but they never made any money. I didn’t even have the rights for some of them.
American filmmaker
I actually picked up copies of Decline I and II at a flea market once. I walked out without paying.
American filmmaker
It’s really hard to imagine there ever being the kind of impact there was when punk rock happened in the late 70’s. I wish there would be one big change like that again, but I don’t know if that’ll ever happen.
American filmmaker
I live on this nice three acres in Hollywood.
American filmmaker
When we did Wayne’s World, it was 14 million dollars and they didn’t bug us too much because they just thought it was some little movie that nobody was ever going to see. We showed them.
American filmmaker
This generation has given up on growth. They’re just hoping for survival.
American filmmaker
When men have money and power they get turned on, sexually. They get horny as hell. Can’t imagine why, though.
American filmmaker
I can’t believe I actually was in my own movie.
American filmmaker
Before you approach a production entity or even a potential producer, you should write up a treatment and register your show with the Writers Guild of America.
American filmmaker
I love punk rock, but I also love metal.
American filmmaker
I really feel kind of guilty spending 80 million dollars. People are starving in the world.
American filmmaker
For the most part, studio movies have huge budgets. They don’t do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
American filmmaker
If you are looking for a producer, try to contact established producers. Don’t let the fear of theft paralyze you, or you will never get anywhere with it.
American filmmaker
Your best protection is to have an established agent make the contact.
American filmmaker
It is fun to try figure out the things that really are real and the things that aren’t.
American filmmaker
I got IRS records to finance what I wanted to do.
American filmmaker
There are thousands of directors in Hollywood.
American filmmaker