Top 283 Quotes & Sayings by George Lucas - Page 5

Everybody has talent and it's just a matter of moving around until you've discovered what it is. A talent is a combination of something you love a great deal and something you can lose yourself in - something that you can start at 9 o'clock, look up from your work and it's 10 o'clock at night - and also something that you have a talent, not a talent for, but skills that you have a natural ability to do very well. And usually those two things go together.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’

People look at technology as sometimes an end to things, and it isn't an end in certain cases. In the movie business, the act of creating in the art form of movies, the craft of movies is completely technical, and that's all it is.

Over time I began to realize that the level of cinema criticism in the last part of XX century in the United States was pretty low. The institution itself is not what it's supposed to be, and I realized that I didn't need to take that seriously.

Luke: Boy, it's lucky you have these compartments. Han: I use them for smuggling. I never thought I'd be smuggling myself in them. This is ridiculous.

If you can tune into the fantasy life of an 11-year-old girl, you can make a fortune in this business.

I have a supermarket full of ideas and the challenge is how many ideas can I get in my cart before I'm gone. When you're doing it, you're not focused on success. It's not a matter of modesty. You're simply trying to get all the things done that you want to get done in your life.

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.

I felt that one of the major issues in the third film is that Luke is finally on his own and has to fight Vader and the Emperor by himself. If you get a sense that Yoda or Ben is there to help him or to somehow influence him, it diminishes the power of the scene.

One of the things that will never get explained in the films is how Ben was able to retain his identity, because it happened somewhere between the third and fourth movies. I set up that this is a discipline that he learned from Yoda; Yoda told him how to do that.

I’m moving away from the business, from the company, from all this kind of stuff.

I never had a story for the sequels, for the last trilogy. That's not really part of the plan at this point, and I'll be at the age where to do another trilogy would take 10 years. I'd always envisioned it as six movies. When you see it in six parts you'll understand that it really ends at part six.

Success is a very difficult thing. It's much more difficult than one might think.

I'd like to see education play a larger role in our daily lives, have people come to a larger understanding - a "bigger picture" understanding - of how we fit into the world, and how we fit into the universe. Not necessarily thinking of ourselves, but thinking of others.

I like making movies. I like the process. I like trying out new ideas, and if they don't work, they don't work. That's the reason I generated the money in the first place, to be able to try things. That's where I spend my money.

I'm the one who has to have everybody throw rocks at me all the time, so at least if they're going to throw rocks at me, they're going to throw rocks at me for something I love rather than something I think is not very good, or at least something I think is not finished.

You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.

I think crossing into the digital age is the big move for the industry. I think it will be the biggest thing that's happened while I've been making movies. I equate it to the invention of color or sound, and I don't see any other major technical process coming along and changing that.

Learning to make films is very easy. Learning what to make films about is very hard. What you’ve really got to do is focus on learning as much about life, and about various aspects of it first.

When you get a small group of fans who hate something, it becomes compounded by the internet. The press picks up the internet like it's a source. They don't realise it is just one person typing out their opinion.

We seemed to be drifting as a society - losing touch with the basic concepts of right and wrong.

I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style.

You need to have a lot of close family around you, a lot of friends to keep you honest. Take your time, take a year and just slow everything down a little bit. Get away from the success part, stay with yourself. Go off on a beach somewhere or do something to keep yourself aligned right.

I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic.

You have to have a thick enough skin to cope with the criticism. I'm very self-critical and I have a lot of friends that I trust who are film directors and writers and people in my profession.

You can't put a title card at the head of the movie and say, "Well, we really had a bad problem. You know, the actor got sick and it rained this day and we had a hurricane."

The first movies, they just put up a camera and had a train come into a train station, and everybody was amazed. That was sort of all technology.

Although I write screenplays, I don't think I'm a very good writer. I'm very interested in studying cultures and social issues, but as an academic I don't think I would have been too successful.

After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."

I think that's an obligation you have, to give back no matter what happens. It actually ends up being easier when you're young than when you become successful. Suddenly you realize you've gone into a whole other realm of philanthropy, from just being a volunteer to being this person that dedicates buildings and saves lots of children in some faraway place.

Anybody that makes films knows the film is never finished. It's abandoned or it's ripped out of your hands, and it's thrown into the marketplace, never finished. It's a very rare experience where you find a filmmaker who says, "That's exactly what I wanted. I got everything I needed. I made it just perfect. I'm going to put it out there."

You're not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.

As a group, we are stronger than we are as individuals. We start to think we want everything for ourselves and we don't want to help anybody else. We want to succeed, but we don't want anybody else to succeed, because we want to be the winner.

Obviously, people have a lot of different dreams of where America should be, and where it should fit into things. Obviously, very few of them are compatible, and very few of them are very compatible with the laws of nature.

I have a lot of ideas and I want to be able to work. To me, it's like one of these contests where you get five minutes in a supermarket to take anything off the shelves you want and try to fill your cart up as much as you can. That's the way I look at my work.

There's nothing worse than the frustration of having somebody who you feel doesn't get what you're doing, trying to turn it into something else. It's a very, very annoying and sort of frustrating thing and I just never wanted to go through it. I was very fortunate as I came up through the film business that I was able to insulate myself from that.

I wanted to transfer to an art school, and ended up going to the University of Southern California. They had a cinematography school, and I said "Well, that's sort of like photography, maybe that will be interesting." And once I started in that department, I found what it was that I loved and was good at.

Because we [people] have an intellect, part of what we do is try to understand the "intelligent design." Everything we don't know is "intelligent design." Everything we do know is science.

I like Star Wars, it's fun and I enjoy doing it. But it's definitely not my life. I'm a bigger movie fan than I am Star Wars fan. I like making movies.

Sometimes people are surprised to learn that most of the films I've made don't work. They've been released but nobody has ever seen them. Maybe 40 percent of them are very successful. That's a very high percentage; most people have maybe 10 or 15 percent of their films work.

I was always extremely curious about why people did the things they do.

I'm very proud of all the movies I made. I am very happy with everything I've done. I like to watch my movies. Some of them work. Some of them don't. Some of them people like, most of them they don't.

I think there are going to be some social changes that take place due to the Internet, and the availability of the tools to more and more people. I think you are going to find a lot of people re-cutting movies and changing them, making them into their own movies.