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Projects Quotes

“I've been with that project [ Sausage Party] since its inception, since they wrote the script. It took them four years to get anyone to make the movie, because it was so filthy and there was this firm belief that there wouldn't be a market for an adult animated film, even though 10 or 15 years prior, South Park [Bigger, Longer, And Uncut] did really well.”

“The lessons learned on a pure practical production standpoint were immense. It instilled a faith that you can accomplish what you want if you just believe and stick together and continue to work at it. In that sense, it gives me the confidence to go into the next project with the belief that we can do it. This was an experiment in whether you can find a film without a singular conceit.”

“When I got into film school, it really formed a sense of who I am and my sense of feeling like an outsider. If there was some greater purpose to do this, it would be so that future generations - my kids or my sister's kids - would grow up seeing themselves in their media culture in a way that I didn't. If The Mindy Project or Master of None were on when I was growing up, I wonder if I would be interested in doing this at all”

“I've been with the project for like three years: creating it, pushing it. [There] becomes a certain doubt when you're pitching this story to people. ["The Land" is] a cautionary tale. It's not the brightest or best ending to a film when you're telling a cautionary tale about four kids, kids who are killing each other, kids who are products of the streets.”

“We needed to do "Community Project" to feel comfortable doing our own thing, and then "That's It That's All" was this experiment with camera technology and shooting snowboarding a little differently. "Art of Flight" was that dream of "That's it That's All" realized. Then we didn't want to make an "Art of Flight 2," so we stepped back and tried to take a different approach to create a more multi-faceted film. "The Fourth Phase" has more of a storyline, and it was much more personal for me.”

“Too often, the perspectives on housing come from journalists, politicians and property experts, with a focus on the extreme ends of the market. Through the FOURWALLS Film Project, we want to get an accurate picture of the London housing situation through the eyes of the people that live there, and promote discussion around it.”

“That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.”