When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.
I like having deadlines. . . a film release date or a concert premiere date. It channels one's energy into doing often remarkable work that oceans of extra time would probably not improve upon.
We didn't realize it at the time, but the release date, the ad campaign and the poster are so important.
When you're going to try and have people talk in a room and actually reflect life as we know it and have people recognize themselves and their own street and their own house in it, well then you're aiming for the high country and it's a much bigger gamble. You can interview all the marketing gurus and the people in charge of, you know, the people you gotta fight with in order to get your seats here, and they all talk about release dates and counterprogramming. At the end of the day, it's gotta be a good movie.
As an artist, to release music is what you look forward to. That's what everybody looks forward to when they sign a deal. It feels really good to know I'm actually working towards a release date.
The release date is just one day, but the record is forever.
I know when something is done and when it isn't. There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing.
You know how sad your life is when you know the release date of DVDs.
