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I've had a lot of movies that didn't get great numbers on test screening, but a lot of times the film was able to survive, or the studio still stayed and supported it.

Barry Levinson

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Barry Levinson
Age: 82
Born: 1942
Born: April 6
Actor
Film Director
Film Producer
Screenwriter
Baltimore
Maryland
Film
Stayed
Still
Studio
Able
Test
Great
Survive
Movies
Numbers
Times
Screening
Didn
Supported

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I think it's a promising time which will show a lot of diversification that we've seen in the past.
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I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
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Ronald Reagan was this actor who was going to be president, and he was very charming. What he had was, he talked about America in ways that got people all caught up in it. He was creating this America - it could even be the mythical America - that we subscribe to.
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I think certain movies work and that is part of the magic of it all. We can't truly define why something succeeds.
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I don't know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don't think it happens. So you have to prepare an audience.
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It's always hard to explain why an audience ultimately responds to a movie.
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There was a time when I said, I'm going to go do a television thing, after doing all these theatrical films, and heard, Television? Why are you going to go back to television? It's an interesting place.
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I got involved with an acting school and studied for a couple years. They used to have improv exercises that you would work on and you would do improvs.
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I don't know that you can do it as a satire. I mean, the business is crazy enough as it is. It's like doing Wag The Dog - we took a thing that was almost completely absurd on one level, and then ultimately those things came about.
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I think when Sarah Palin opened her mouth and started talking, the more she talked, the less appealing she became.
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Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.
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All I try to do is create an atmosphere that seems comfortable enough, that it removes tension and everyone feels free. If they feel free then behaviour happens, small moments happen and that's what ultimately works the best for me.
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When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.
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It's such a funny thing. Hollywood is terrible unless you happen to be a celebrity who's a Republican. So Ronald Reagan can be a Hollywood celebrity, and he's a Republican, and then he can become the president, and that's okay. Fred Thomson, well, that's okay. But the rest we need to demonize. There's no consistency.
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No one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.
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They're intimidating the networks and levying these fines, so the networks are not sure of what they can or can't do.
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You have a movie and it proves itself and then certain things happen.
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I think we are seeing a radical shift in the business in general. The studios are making much more of the real big extravaganzas and there are other kinds of films that are coming out. I think you are going to begin to see more diversification that we've seen in the past.
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I think test screening works at its best when the audience knows what it's getting.
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You don't always have to have the ending, but you want to have a satisfactory conclusion.
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