A Quote by Mitchell Hurwitz

We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else. — © Mitchell Hurwitz
We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else.
We did the original 'Stargate' as an independent movie. It was a surprise success. Shortly before the movie came out, the financiers who were frightened the movie might not do well sold the film to MGM. When the film came out, it was a hit and spawned TV shows.
Music in a movie might tell you about longing. It might tell you about fear. It might tell you any number of things, but it tells you something different. Something happy might be going on, but there can be this little sad tinge underneath that tells you something.
I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.
It is important to have a woman editor. Movie is an industry where it is predominantly women. Male editors might cut out pauses that are interesting, while a woman might not be afraid of that pause. Trying to do a movie with an editor who is not funny is impossible. There are certain talents that go with certain genders.
For a movie's success, comedy must blend with the storyline. Else, comedy might click but the movie will die.
I try to enjoy a movie or a television programme just like anybody else. I'd love to be emerged into the story and watch it, but if you work a lot as an actor, in any aspect of the industry, things might arise in a programme that somebody might miss, whereas it might catch your attention.
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them anyway!
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!
What I love about film music is the variety. On one movie, you might be asked to do a completely electronic score, and then another might ask you to do orchestral only.
I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.
Part of the fun of the movie is understanding exactly why we called it Prometheus. And also, it sounds really pretentious, like Inception, so we were just like, "Yeah, that makes the movie sound really smart!" It's so much better then my original title, Explosion. Well, there might be an explosion in the movie.
As the watcher of the screen, you are perfect. The movie that is playing on the screen might be horrendous, but you are not the movie. You are what is watching the movie.
I think where a lot of the stuff came from is that it started as something else and then it was transformed into something that worked in the context of a song that I might have been working on.
I would have been content with still playing Inmate #1. I worked on every prison movie made, from 1985 to 1991. I would go from movie to movie to movie.
I directed fourteen movies. Every movie had Hector Elizondo. He didn't like Beaches. I don't know, it was originally not a happy movie at all, it was much sadder than that. And they brought me in to kind of make it a little more 'warm', I guess you might call it. The original ending was a whole messy thing.
I don`t want people walking out of a movie thinking I was trying to act or be some movie star. I want them to think, `That might make me like Jessica a little bit more.`
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