American - Producer | September 14, 1970 -
'Reno 911: Miami!' is a terrible, terrible title, and all the reviews - good and mostly bad - nobody pointed out how stupid a title that was. But you can hardly come up with a sentence that's more awkward.
Robert Ben Garant
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There were guys in 'The State' who would take one script and rewrite it and rewrite it and rewrite it and fight for it for a whole season, and after a couple of seasons, you realized that doesn't work. You have to just be willing to throw something away, no matter how good it is, and write a better joke.
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You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.
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You can't teach somebody how to be a good writer.
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You write a spec, and you pour your heart and soul and life into a spec, and you think that spec is the movie that's going to sell and get made... I've never heard of anybody that happened to.
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What happens is, you write a spec, people get it, they see your writing, they see you're good, they bring you into their office, and they say, 'Boy, that spec was really good - we'll never make that in a million years. We have rights to the board game of Monopoly. What do you think about a Monopoly movie?'
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In cop shows, the police don't get to rag on each other and rag on their commander and rag on the person they just pulled over. That was all 'Reno' was, and I think that's all cops do 90 percent of their day.
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We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
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'The State' had never done improv. We used to go over scripts for weeks and argue about every joke. But I don't know how we would have scripted 'Reno.'
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There's a studio formula of making a movie that Betty White fans and Ice Cube fans are going to love, so it's a really broad brush.
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You'll be in the checkout line at the supermarket, and there will be one of our movies in between the Certs and 'The National Enquirer.' That's where some of ours end up.
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If one real working screenwriter had visited us in college and just said, 'This is what my day is like,' it would have been really helpful.
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