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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
Numbers
Times
Screening
Didn
Supported
Film
Stayed
Still
Studio
Able
Test
Great
Survive
Movies

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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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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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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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The interesting thing about movies, it's not always - y'know, you have to have structure etc and all those things, but an audience responds, in many ways, we walk away and certain things stay in our heads that are memorable.
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You have a movie and it proves itself and then certain things happen.
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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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I'm fascinated by documentaries, to begin with. Because of the nature of television, as opposed to theatrical, documentaries can be in this long form and take you on a journey.
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It's always hard to explain why an audience ultimately responds to a movie.
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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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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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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 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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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 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 got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
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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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I thought a great line in the What Just Happened movie said, We're just the mayonnaise.
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I think test screening works at its best when the audience knows what it's getting.
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I worked at a local television station and I got a chance to direct and do all those things - worked kiddie shows, Ranger House show with the hand puppets and things like that.
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