A Quote by Hideo Kojima
You have to be very careful when you're working on a sequel, because it has to be a continuation of what you did before.
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If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.
When I first did 'The Fast and the Furious', I didn't want there to be a sequel on the first one. I thought, 'Why would you rush to do a sequel - just because your first film is successful?'
The fall of the Berlin Wall is very much a sequel, a continuation of the story about Eastern Europe emerging from war and Communism. The notion of presenting history as a story also appealed to me very much, since that is the way I look at the events I cover as a reporter.
I was very careful to send Mr. Roosevelt every few days a statement of our casualties. I tried to keep before him all the time the casualty results because you get hardened to these things and you have to be very careful to keep them always in the forefront of your mind.
I'm not really a sequel guy. I did 'Angels & Demons' after 'The Da Vinci Code,' because I like working with Hanks, and I felt it was a really different sort of world that we were visiting. That was, of itself, interesting.
I learned in business that you had to be very careful when you told somebody that's working for you to do something, because the chances were very high he'd do it. In government, you don't have to worry about that.
You pass by a little child, you pass by, spiteful, with ugly words, with wrathful heart; you may not have noticed the child, but he has seen you, and your image, unseemly and ignoble, may remain in his defenseless heart. You don't know it, but you may have sown an evil seed in him and it may grow, and all because you were not careful before the child, because you did not foster in yourself a careful, actively benevolent love.
My father was very political. But he told me, "Be very careful when you get into politics, because there's no black and white. There's an in-between in everything. So look at that side, don't take one point, because then you are negating half of the other people. Try to find the logic on a problem, something that you believe, and take the position that you believe, but be very careful about it." So I was very well trained in that aspect.
'The Conjuring' was a massive success, and honestly, it set the bar quite high. So I was nervous about making the sequel, and I wasn't sure if it will still have the same impact as the first one did. But that's what moved me to make the sequel.
I am writing a sequel to The Touch because I want to further explore the Chinese question that I have raised. There will be more about that in a sequel.
I stopped working a few years ago because I just lost a spark that I'd had before. I thought I'd just try writing, and maybe start directing, but I did it very quietly.
You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.
'PKP' was a huge success, and even the sequel did well. I became very choosy after that.
I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?
If I had done a sequel to 'Day of the Tentacle,' there probably wouldn't have been a 'Full Throttle.' If I did a 'Full Throttle' sequel, there wouldn't have been a 'Grim Fandango.' It's important to make new stuff up.
People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
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