"We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects"
About this Quote
Hollywood ambition rarely sounds like art. It sounds like logistics, like calendar math, like naming the rooms where power sits: New Line, MGM, “meetings.” David R. Ellis, a director who made a career out of propulsive genre filmmaking, isn’t selling a grand vision here so much as signaling momentum. The sentence is basically a status update, but it’s doing quiet work: staking a claim that he’s in demand, that doors are open, that he has options.
The repetition of “projects” and the vague “a couple” are telling. Nothing is named because nothing is locked. In the studio system, specificity can be a liability; announcing too much too early invites leverage games, trade-paper spin, and the slow death of a deal. So the language stays noncommittal, yet optimistic: “interested in me doing” keeps the focus on Ellis as a hireable operator, a steady hand who can move a machine forward.
“There’s a lot of available projects” is the most revealing phrase. Available to whom? Not audiences. Not even necessarily to artists. Available to a director with the right reputation: reliable, fast, capable of delivering spectacle inside commercial constraints. The subtext is career survival in an industry that measures worth by the next assignment. He’s not describing inspiration; he’s describing pipeline. That candor is its own kind of honesty about how movies get made.
The repetition of “projects” and the vague “a couple” are telling. Nothing is named because nothing is locked. In the studio system, specificity can be a liability; announcing too much too early invites leverage games, trade-paper spin, and the slow death of a deal. So the language stays noncommittal, yet optimistic: “interested in me doing” keeps the focus on Ellis as a hireable operator, a steady hand who can move a machine forward.
“There’s a lot of available projects” is the most revealing phrase. Available to whom? Not audiences. Not even necessarily to artists. Available to a director with the right reputation: reliable, fast, capable of delivering spectacle inside commercial constraints. The subtext is career survival in an industry that measures worth by the next assignment. He’s not describing inspiration; he’s describing pipeline. That candor is its own kind of honesty about how movies get made.
Quote Details
| Topic | Career |
|---|---|
| Source | Help us find the source |
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