A Quote by Mark Strong
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.
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I usually take up short films when I am not tied up with feature films. Short films are easier to work on... because it doesn't take much of your time. The number of shoot days are lesser as compared to feature films.
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.
Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
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?'
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?
We were not having any fun, he had recently begun pointing out. I would take exception (didn't we do this, didn't we do that) but I had also known what he meant. He meant doing things not because we were expected to do them or had always done them or should do them but because we wanted to do them. He meant wanting. He meant living.
When I was a kid, my pop used to take me to the double feature. He would take me - I had two brothers - and we used to go in the early '80s and check out these grindhouse movies - a double feature, sometimes a triple feature.
Many years ago, I was actually hired to write the sequel to 'Independence Day.' And I wrote a sequel. And they paid me a boatload of money to go write this thing. And after I wrote it, I read it and I gave them back the money and I said, 'Look, this is an okay movie I just wrote. But it's not worthy of the sequel to 'Independence Day.'
For us the acceptance of audience is important, we won't keep making sequel after sequel just for the heck of it.
If a whole bunch of users want a specific feature, and we think that feature is pretty cool, too, that that's just what we'll do.
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.
It was a film [The Lost World], and it's a sequel at the same time. The first shot on the first day was from the sequel to the movie they hadn't made yet. But yeah, it was a pretty amazing experience running around the jungle for that.
I feel the way I always do about sequels. If there's an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don't ever want to do a sequel just for the sake of doing a sequel.
It was a strategic plan, because prior to us doing 'Dum and Dummer,' me and Glock never had music together. So I planned it that way - because I always wanted Glock to take off and go big on his own, without a Dolph co-sign or Dolph feature.
I would rather make feature movies because, let's face it, you take more time. You take seven days to do a show, and you take three or four months to do a movie.
We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.
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