A Quote by John Sayles
I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.
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I never set out to do this; I never set out to say, 'Can I break this record?' Then all of a sudden, the preparations made for the celebration put pressure on me. I said, 'Okay, I have to get there.' After 2,130, there was sort of a realization it was a foregone conclusion you're going to play tomorrow.
They always say 'Is there going to be a sequel to Bad Santa?' and you know, I mean, a long time ago they would talk about, you know, we're going to do a sequel to that but it was never serious. And they said 'Would you do it?' and I said out of all the movies I've done, that was a lot of fun, and maybe I would do a sequel if it ever came up and it made sense, but I said I don't think that's ever going to happen.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
It's not something someone sets out to do - I never really set out to make movies about strong fighting women, but it just seems to happen that way. I've certainly known some, and I think my sister was probably a big influence.
It's interesting now that basically a CG set is the same cost as a real set. So like if you're going to build a CG house in the suburbs, it costs you $200,000. And if you were going to build it in a computer, it'll cost you $200,000. It's the same... the relationship is exactly the same.
Of course I know I am not the average footballer. But I'd be lying if I said I set out to be different, I didn't set out to go against the grain.
I had ambitions to set out and find, like an odyssey or going home somewhere, set out to find this home that I'd left a while back and couldn't remember exactly where it was, but I was on my way there. And encountering what I encountered on the way was how I envisioned it all. I didn't really have any ambition at all. I was born very far from where I'm supposed to be, and so, I'm on my way home, you know?
[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.
I don't set out to make movies about famous people, though I guess I have. I think what I set out to do is to try to understand things that we don't understand. Or to find out what is blocking us from understanding things we should understand.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
But what would have been the good?" Aslan said nothing. "You mean," said Lucy rather faintly, "that it would have turned out all right – somehow? But how? Please, Aslan! Am I not to know?" "To know what would have happened, child?" said Aslan. "No. Nobody is ever told that." "Oh dear," said Lucy. "But anyone can find out what will happen," said Aslan. "If you go back to the others now, and wake them up; and tell them you have seen me again; and that you must all get up at once and follow me – what will happen? There is only one way of finding out.
'Divorce' was kind of strange because I was going in and out of doing it while doing different movies! So, I kept returning to a set character and this set gig, and that was kind of interesting for me as an actor.
We definitely set out to make a great 'radio' record. We set out to write great hooky choruses-but with verses that said something.
When you set out to really entertain adults as well as kids, your audience is basically anybody who is breathing.
And ever since then [I] have set up businesses basically out of frustration. I mean, I set up Virgin Atlantic with one second-hand 747 because I hated the experience of flying on other people's airlines. And I thought, you know, I could try to create the kind of airline that I'd like to fly on. And people liked it.
I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.
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