[Talking about the movie business] See, I’m in an age group where it was rude to discuss money. Now it’s all anyone cares about. That’s why all the articles are about heads of studios and agents and bullshit. I would never tell anybody what anything costs, not because of anything other than that it’s the wrong approach. It puts the emphasis wrong. You wouldn’t say, “Ooh, look—Rembrandt paid $20,000 for his paints, and Picasso only used $3,000.” It’s crazy. It has nothing to do with anything. And it’s a totally accepted convention of our time. John Huston used to say, “We can make movies good and we can make ‘em bad. Bad is just more expensive.” I’m from that late-’50s, ’60s underground American film movement that honestly believes you can make money on any subject for any price. What’s hard to do is change what is formally acceptable to a movie audience. [The sex, violence, and expensive pyrotechnics] That’s what’s wrong with the movies. It’s this cycle of melodrama and mayhem, which I frankly thought would be over with now. You think, How long is the circus going to be the only form of entertainment that people really get stoked by? But that’s the generalization.

Jack Nicholson
Venice Beach, California

Venice Beach, California

 Cover Art

Producing with Neal Dodson & Corey Moosa

Jesse for Craft Truck:

It was a movie where they knew they had great material and they weren’t going to give up until it got made. It’s that single minded laser like precision which is a major take away for anyone looking to get their film made. The resulting actor list and success all happened because of the initial commitment not to let anything get in the way of making their first film. And while the results speak for themselves, the take away isn’t the result, the take away is the process.

Then, after a while, the sun was in my eyes, for I was driving west. So I pulled the sun screen down and squinted and put the throttle to the floor. And kept on moving west. For West is where we all plan to go someday. It is where you go when the land gives out and the old-field pines encroach. It is where you go when you get the letter saying: Flee, all is discovered. It is where you go when you look down at the blade in your hand and see the blood on it. It is where you go when you are told that you are a bubble on the tide of empire. It is where you go when you hear that thar’s gold in them-thar hills. It is where you go to grow up with the country. It is where you go to spend your old age. Or it is just where you go.

Robert Penn Warren, All the King’s Men 

If you want a happy ending that depends, of course, on where you stop your story.

Orson Welles

  Downtown L.A. Photo by steve craig.

Downtown L.A. Photo by steve craig.

89 seconds of sheer terror!