The interesting thing about it to me is the mindset. With all these "helpers" running around, they talk about doing deals. We talk about welcoming partners. The guy doing deals, he wants to do a deal and then unwind it in the near future. It's totally opposite for us. We like to build lasting relationships. I think our system will work better in the long term than flipping deals. I think there are so many of them [helpers] that they'll get in ea h other's way. I don't think they'll make enough money to meet their expectations, by flipping, flipping, flipping.
When you're in these movie deals and the studios are talking, they're putting business deals and packages together, but they're making calls based on previous relationships. They go, "Oh, let's call this actor because we did this with him, and he might like him. Does he like him? Let's piece them together." There's a brain behind that puzzle, and I want to be the brain.
Embrace opportunities with limited downside, unlimited upside. The best deals are those where your risk of loss is predictable and fixed if things go wrong, while your potential gains are enormous if things go right. Take such deals whenever you can get them if the odds of success are halfway decent.
Like all my poems, 'Negotiations' has several sources. It deals with aging lovers and the often silent deals they make. Thinking about bargains made me think of The Little Mermaid and that made me remember something I had just read about the incredibly complex process by which tadpoles (actual little mermaids) are somehow able to reabsorb their tails and fashion their future frog legs.
Comedy is an intellectual affair, and deals chiefly with logic. Tragedy is an emotional affair, and deals chiefly with value. Horace Walpole once said that "life is a comedy to the man who thinks and a tragedy to the man who feels." Comedy is negative; it is a criticism of limitations and an unwillingness to accept them. Tragedy is positive; it is an uncritical acceptance of the positive content of that which is delimited. Since comedy deals with the limitations of actual situations and tragedy with their positive content, comedy must ridicule and tragedy must endorse.
James Kern Feibleman
We've had to deal with so many complications. We're still dealing with them. And what can we do? Nothing - well, unless we take your side's point of view and make deals with the devil. But why? Why can't we make deals with God? People do all the time. 'God, if you do this for me, I promise to be good.' Stuff like that. Yeah, but I don't see any contracts like you guys have. No hard evidence that it works. How come we can only get things we want by being bad? Why can't we get them by being good?
I WAS READING IN NEW ZEALAND ABOUT IAN SMITH I WAS THINKING THEY WERE LUCKY TO BE RID OF THAT SHIT. THE PEOPLE HERE CAN STILL BELIEVE IN STIFF LIPS AND STIFF COLLARS THEY'RE SPEAKING DEALS IN ENGLISH BUT THEY'RE MAKING DEALS IN DOLLARS. THEY'RE BREAKING UP AN EMPIRE NOBODY'S BUYING BRITISH THEY'RE CALLING FOR AN UMPIRE NOBODY'S PLAYING CRICKET THE FLAGS ARE COMING DOWN EVERYBODY STANDS SALUTING BUT SOMEWHERE IN THE DISTANCE, I CAN HEAR SOMEBODY SHOOTING.
We did a legitimate cap-friendly deal with a low cap number in the first year ($1.5 million), ... We got the guy we wanted and it's a five-year deal. It's the same kind of option deals that we have with Ray Lewis , Michael McCrary and Jermaine Lewis . ... We just have had to structure some deals that way for cap reasons.
If they embark on this course the difference between the old and the new education will be an important one. Where the old initiated, the new merely 'conditions'. The old dealt with its pupils as grown birds deal with young birds when they teach them to fly; the new deals with them more as the poultry-keeper deals with young birds- making them thus or thus for purposes of which the birds know nothing. In a word, the old was a kind of propagation-men transmitting manhood to men; the new is merely propaganda.
C. S. Lewis
I think for a film that has real theatrical potential a sales agent is key. For a film that may find it tougher in the American marketplace, such as many of the docs in the world competition that may not be competing for deals - any subtitled film has a harder time in this marketplace - for those films I don't know that a sales agent necessarily helps for the kinds of smaller deals that may or may not be offered.
How come when mortals want things, their only option is to make a deal with Hell and sell their soul? Why can't they make deals with God in exchange for good behavior?" It was another of those rare moments when I'd surprised Carter. I waited for the glib answer I'd mentioned to Seth, something along the lines of goodness being its own reward. The angel considered for several seconds. "Humans make those deals all the time, " he said finally. "They just don't make them with God." "Then who are they making them with?" I exclaimed. "Themselves.
Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.
Politics deals with externals: borders, wealth, crimes. Authentic forgiveness deals with the evil in a persons heart, something for which politics has no cure. Virulent evil (racism, ethnic hatred) spreads through society like an airborne disease, one cough infects a whole busload. When moments of grace do occur, the world must pause, fall silent, and acknowledge that indeed forgiveness offers a kind of cure. There will be no escape from wars, from hunger, from misery, from rancid discrimination, from denial of human rights, if our hearts aren't changed.
What is a price? It is a proposed point of agreement between a buyer and seller. The proposal is the key. It is not a marching order. Past prices represent deals done in history. Current prices represent possible deals in the future. Prices embed vast information about perceived realities: resource availability, consumer demand, cultural biases and habits, speculations about the future. The price is also an amazing tool. It provides an objective basis for accounting and the assessment of profit and loss. Without prices, real prices rooted in real market experience, we'd been lost.