Top 107 Quotes & Sayings by Justin Lin - Page 2

If I make a film like 'Better Luck Tomorrow' or 'Finishing the Game,' I'll protect it with everything I have.

If you watch 'Fast and Furious 6,' you do see that it's a culmination of something and I think it's the end of a chapter.

You can't expect Hollywood to take a risk.

I remember when I was a kid, I'd watch 'Kung Fu Theater' on TV, and all the movies would star guys named things like 'Bruce Lai' - you'd never get the real Bruce Lee films. So when I finally saw 'Enter the Dragon,' I was like, 'Holy cow, who is this guy?'

I always found it interesting when you went off to college, people would talk about how you go and search for your own identity. A lot of suburban middle-class kids would be shopping for identities and they would co-opt identities from other cultures.

I'm so sick of independent films being co-opted by Hollywood. You're making a project that's small, really personal, and the first thing anyone asks in any meeting is, 'Who's in it?' I'm like, 'Are you kidding?'

There's no guidebook on how to be a filmmaker. I just try to do my best.

My brothers and I would try to talk our dad into letting us stay up and watch 'Star Trek.' I remember watching it and feeling that a family is not just by blood, a family is a shared experience and that really stuck with me.

I wanted to have fun after 'Annapolis,' and make a Western.

I loved basketball and grew up with the Lakers and Magic Johnson. That was a big part of me.

Studio films are driven by marketing. The currency is literally money. But in the indie world, the currency is passion.

That's the thing I truly enjoy, when you can work with good people who are very talented.

As a filmmaker, if you want to write a script, all you need is some paper and a pen or a computer, that's it.

Sometimes, I think it's important to be a filmmaker first and be able to talk about whatever you want to after that.

Every time you try to do something different, you have to expect obstacles.

You sometimes get the sense that when people make sequels, they get conservative. If something worked, they do it over and over and over again.

I think within the ideology of what 'Trek' is, that it actually makes the daunting task of making something new more manageable, because it's part of 'Trek's' very design to tackle new worlds and characters.

As a society, we're not perfect by any means.

As an Asian immigrant coming in, for the longest time I still had problems getting in the lot because they're just not used to seeing someone like me who's directing these films. I do think ultimately there's a point where we can kind of just shed that label and become filmmakers.

When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.

At the end of the day, if you're living by fear, you're gonna get screwed in Hollywood.

They never complained, that's what I love about my parents and it's something that inspired me.

Star Trek' is not just about literal exploration, but also the exploration of ourselves.

For filmmakers that want to have certain control, there are certain things you can't do in VR.

There was something so pure about 'Better Luck Tomorrow' because money wasn't the currency. It was passion. The fact we were trying to do something even though no one was asking us to. It meant a lot.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

I grew up in the working class suburbs in the 80s so I do love Hollywood movies but what I don't like is when they take something that's successful and they recycle it.

Sports is one of those few things left in our society where, as soon as you step on the court, or get in the ring, you are who you are.

I get that a lot of people love 'Star Wars' - and I could see that you can love both and they can coexist in our lives. But the DNA of 'Star Trek' is different in as far as it's human beings, it's us in the future.

Space is a big place.

That's in the mission statement when you're part of 'Trek.' It's our job to try to be bold and push forward. You have to be conscious of that.

The harder we push forward into the unknown the more it intensifies the reflection of humanity. That's what I really love about 'Star Trek.'

I get to make movies; I get to do what I love.

Growing up as an Asian American, we're lucky to have two sentences in a history book about the Chinese-American experience.

Boxing is a big part of American cinema.

I left 'Fast and Furious' because I just felt like, at a certain point, after number six, there wasn't another story that I wanted to tell.

It's a privilege to go and have fun and do what you're passionate about for a living.

After 'Furious 6,' that was a natural break for me. It was a good time to step away.

You hear nightmare stories from young filmmakers working in Hollywood, being told what to do.

There's an anxiety of wanting to please the studios. You want to prove to them that you can do it and sometimes you might jump at a project that you're not totally passionate about.

It is very important to support what you believe in.

If you put forth a really diverse cast and you fight for it and it doesn't do well - and it may fail for other reasons - you're gone because you stuck your neck out for that decision.

I feel like every time you get to make a sequel, it's a privilege. It means that people have embraced it and want the journey to continue.

I think ultimately that sense of hope is something that even as a little kid I was able to kind of grab onto.

We ultimately get to know ourselves a little bit better by pushing forward.

If you cast an all-white movie and it doesn't do well, no one will say it's because you had an all-white cast.

I became a filmmaker because I wanted to deal with issues that intrigued me, that I thought were pertinent, that would start dialogue.