A Quote by Jason Segel

I have always felt like romantic comedies are incredibly predictable. You look at the poster and you know those two are ending up together at the end of the movie.
Unlike typical romantic comedies, Definitely Maybe is not formulaic or predictable and it spans a decade while being set against a political background. Also, the audience doesn't know who ends up with who until the very end, which makes it a sort of "romantic mystery comedy".
The problem with romantic comedies is you know the ending by the poster. So they're not movies you can keep doing over and over again expect satisfaction somehow.
I'd played a lot of best friends, and/or bad guys, which seems to be my lot in life. In romantic comedies there's always a best friend and the woman has a best friend and they always antagonise each other and then they end up together at the end of the movie.
Usually, in romantic comedies, you end up sacrificing a great deal of the complexity - you know, just two attractive people and a good soundtrack.
I love the ending of a movie where two people end up together. Preferably if there's rain and an airport or running or a confession of love.
The reality of our lives is never like what you see in those romantic comedies or dramas. Things don't always end good. Things don't usually end good.
I love romantic comedies. I love romantic movies. I'm kind of a sucker for them, and, sort of end up crying at the end of them all, like a child.
People know where romantic comedies are going. It's not brain surgery to figure out the end of a romantic comedy.
I always loved that tragic look, the bigger-than-life women. They always have those big glasses and scarfs on, and doctors and nurses always around them. You felt sorry for them, but they had their lips together, no matter what was happening to them. They always looked like movie stars.
As a kid, I had a Beatles poster and a Bela Lugosi as Dracula poster, so both worlds always appealed to me. Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts.
What I'd really like to write is a romantic comedy. This is my favorite kind of movie. I feel almost embarrassed revealing this, because the genre has been so degraded in the past twenty years that saying you like romantic comedies is essentially an admission of mild stupidity.
I was running the risk in Adventureland, even though we stayed close to the script, because I wanted it to be not a schematic movie. For better or worse, it's not a wish-fulfillment movie. It's got a kind of happy ending, but it's not like I forgot to put on the "Ten years later," and they've got four kids and a dog. Those guys are not together today. It always was leading up to the moment of "Oh, I have my first girlfriend." Credits.
I didn't ask anyone to make me a poster boy, because poster boys always end up on dart boards.
I think one of the problems in determining the ending for a television series is that you don't know how long the show is gonna last. Particularly because we were in the unique position of adapting Tom's Perrotta novel The Leftovers, it always felt like the first season was gonna end with the end of Tom's novel, and then we would figure things out from there and look back.
I've always said that movies are kind of like love affairs. Two people come together, and if they're at the right place at the right time and it's the right situation, it clicks. I've always felt that I've connected with screenplays. It's the romantic in me.
The last time I was in a Marshals' office, they had a poster of 'Justified' up. I asked them, 'Did you know I was coming by, so you put up a poster of the show?' And they said, 'Oh, we all love it... you guys make us look good.' I thought, this is great. If they like it, we really did something here.
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