Christine Vachon Quotations

The only way we can do what we do is to be absurdly optimistic,

Our John Wells deal sort of changed us.

People have certain memories that they hold very dear, so you want to remain true to them.

Look at 'Bettie Page', that was the classic movie that we had in development forever. I think it pre-dated Killer Films, we made something that is enormously fresh and fun and exactly what the director wanted, and that feels amazing.

Theatrically seeing a movie with a group of people and having a collective experience has an authenticity that you can't get with your big screen television.

Not everyone can see this working as a film, but maybe that will change now that everyone's embracing musicals in a big way.

I'm no longer convinced theatrical is the holy grail.

I like to hear myself as someone who has a lot of money. There are times when we've had difficult relationships with financiers, and thing 'we won't work with them again...

It's humiliating to have to explain your value.

I think that when you're doing an under-four-million-dollar movie, you just can't throw money at the problems.

I always say, what really makes a movie commercial is that it makes its money back.

There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.

The only way to sustain a career is to be as prolific as you can be, and open to opportunities.

My first job, honestly, was as a proofreader. I say that a little disparagingly, but it actually was this sort of incredible thing, where I got this job proofreading for a cable television magazine.

There's something in the Zeitgeist now. A lot of [film] scripts I get have these very dark themes, a cornucopia of dysfunction. You know, Jane is a 13-year-old anorexic who lives with her parents and has been raped by her father. And this is a comedy.

When a crisis occurs, I feel that one of my greatest responsibilities is to set a tone of calm no matter what the problems. Sometimes I have to fake confidence a lot. I also have to fake calm.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.

Ultimately when I throw myself behind a movie, I have to really believe in that directors vision.

I keep trying to train myself to stop saying 'filmmaker' and start saying 'storyteller.' We're telling stories.

In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.

You could say we've come full circle. Now there's all kinds of excuses to control what people see. It's getting scarier and scarier.