Scott Rudin
Scott Rudin
Scott Rudin is an American film producer and a theatrical producer. Rudin started to work as a theatre production assistant aged 16. In lieu of college, he took a job as a casting director and then started his own company. His firm cast many Broadway shows. Rudin moved to Los Angeles in 1980 and started to work at Edgar J. Scherick Associates. He formed his own company, Scott Rudin Productions, and his first film was Gillian Armstrong’s Mrs. Soffel. Soon...
NationalityAmerican
ProfessionFilm Producer
Date of Birth14 July 1958
CountryUnited States of America
I know that movies are basically meant to be entertainment, but I'm not that interested in entertainment.
I have a big affinity for the Coen Brothers.
I don't particularly have a wide social circle.
I do what I feel I know how to do and don't do things that I don't. I'm a product of my sensibility.
I always loved doing a movie with Daldry. That's always a huge factor for me.
Classics stay alive because a great actor or a great director wants to do them.
I want to be able to go wherever I want to go, do whatever I want to do. I guard the material and the filmmaker.
If you're going to spend two or three years of your life working on something, you've got to be making the kind of movie that discusses and influences the culture and is engaged in the world you're living in.
'The Social Network' was probably one of the two or three things I've done in my life that I'm most proud of. I'm not going to engage in what about it was disappointing. There's nothing about it I was disappointed in.
I keep my overhead as low as I can.
Success is extremely ephemeral and very hard to hold onto.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
They say there's no second act in American lives. There's something there worth exploring. Giving up an idea of yourself, examining your failure, and seeing if that failure was the system's or yours. What does it mean to not turn out to be the person you want to be?
You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.