Does filmmaking have money? – Introduction To Color In Digital Filmmaking Images Of Hearts

Well, there’s always money for a movie. There’s always money for a book or book contract or television contract… So you know in that respect, when you’re looking for a film and you can’t find that one… so you’re looking for a movie and there’s a lot that you think that film needs to fulfill for you to even consider getting involved, you need money. There’s a lot of money involved. So you look for that.

MARK LEIBOVICH: You look for a movie. You look with the understanding that they need to be financially and creatively sound if they want to make the film for you. You don’t want a movie that doesn’t deliver. So you make a movie that you think, ‘Oh, this is something I’d love to do.’ It’s a huge commitment.

DIANETTA CUNNINGHAM-WILSON: Absolutely. I mean, if you look at a lot of projects…

JUDY CUMMINGS: Yeah, but the question of: where that first person is at the time of their audition versus when they get there, and what kind of person needs to be there at the time of their audition compared to when they go in to say that to them. Like say, do you want to make a movie today, you wanna know right now, you just need someone that you can trust or someone that’s gonna give them faith?

(CROSSTALK)

ANDY MCEVERS: There’s a lot of money and there’s a lot of work involved when people take on a big motion picture of this magnitude. And we’re here with these two filmmakers. It’s a double bill with Judd and Dianeta. It’s been a long time coming. The studio has been asking, ‘Have you ever done this before? Are you ready for this? Do you know how this stuff is gonna happen?’

JUDY CUMMINGS: We’ve sort of been on it. We have a pretty long time on this project.

DIANETTA CUNNINGHAM-WILSON: Yeah, it did take a really long time to get to set since they were sort of trying to find people to work with in the early days.

MARK LEIBOVICH: Yeah.

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(CROSSTALK)

MARK LEIBOVICH: So we’re at this big studio, in the studio with all

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