Kurt Voss Quotations

We shot that first film $500 to $1,000 at a time. We would shut down and start up again several months later after we got another $1,000. And God bless our cast for sticking with us. Allison's daughter was in the film and she grew out of her wardrobe.

With our film, we were trying to show a group of people who have experienced degrees of fame and it's either been fleeting or they're trying to regain it.

We're hoping to see him as James Bond in the next decade.

It requires that people be really tight, family tight, and that they know each other extremely well. So I think that's part of the reason why we're able to do it, because we're such old friends and almost sort of symbiotic in certain respects.

There's something with actors in their 40s, I don't know - there's this tendency with these guys, either they're not where they wanted to be, or - I mean, this guy was making good money and working a lot. It's almost like they have a bad conscience about the job, like it's unmanly or something, so they try to compensate by busting the director's balls 24/7.

There's more movies now than ever, and competition for the entertainment dollar. These movies aren't recouping the way they used to. These little producers used to make something for a million, and get on a roll. One would finance the next. They crap out eventually, but then they go start a new company. But these guys just aren't getting to first base.

A lot of people live with no apparent means of support. I kind of envy the musicians up there. You're down here, busting your ass in Hollywood, and it's like Lily Tomlin's joke about the rat race - all you prove in the end is that you're a rat.

I wouldn't want to put myself up for something that I didn't think I could do a good job on. I wouldn't to direct material I didn't feel I could serve, but I don't have anything against doing bigger pictures.

I really don't know where the independent fits in anymore when twenty-five million dollar movies are considered straight-to-video fare. We're like penny postage stamps.

I'm used to doing a lot of dolly tracks.

Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.

Having been in front of the camera just a couple of times, I'm empathetic, because it's very disconcerting. Someone shuffles you off to the trailer; you sit there for eleven hours wondering what the hell's going on.