For any book, it's distilling all of the moments in the book that are either fan favorites or pivotal that you have to have in there, and how you tie that all up into a two hour movie is not the easiest job.
Between Twitter and Facebook, early word of mouth for a film can destroy it immediately or take something you've never heard of and make it a huge hit.
Don't sell credits; don't sell walk-on roles... If people want to back you, they'll back you. But if you have to entice people will walk-on roles and crazy credits, you're undermining yourself.
I don't know if I'd do well in a structured, corporate environment. I'm very open. I share everything. I don't care. I don't have anything to hide. I'm very transparent that way.
I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
It's like everybody is shooting something, and everybody's a filmmaker; everybody can shoot a cat video and post it. So the big thing now is - for people that have talent and have something to say, and are creative, and are capable of making something good - is how do they get attention to it?
The future of the television industry is changing at an unstoppable rate, and it is exciting to share my experience and thoughts on how this will change the value of content in the digital space.
You can get any film now basically for free, and that's where I think the model we're talking about is - if you give people what they want, how they want it and when they want it, they're more likely to pay for it.
You want somebody who's capable of being diverse in the characters they play, and you want a big name that's going to bring attention to the filmmakers and to the project.
