A Quote by Omari Hardwick
The reason why people don't get called back to sequels is because they did badly in the original [movie].
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I think you kind of need to acknowledge that the reason why sequels do well is because people that loved the first one come back.
The only reason I would write a sequel is if I were struck by an idea that I felt to be equal to the original. Too many sequels diminish the original.
I think I've done a lot of movies that people would like to have seen a sequel to. But I grew up in a time when we didn't do sequels. You just did a movie because you wanted to do a movie and you wanted to tell a story. It wasn't to build a franchise.
We were lucky to get Sam Jackson and Jeremy Irons and John McTiernan back. Long movie and hard movie to make and difficult for me because instead of working, my biggest concern was not repeating things I had done it in the previous films. And it rang notes in my head of episodic TV. A sequel is not a new movie; it's a chapter in a movie that you have already seen. Thank god Sam was there and thank god Jeremy was there. Again, it went outside the template of that series of films but it did well and made a ton of dough and the third chapter of a lot of sequels is always the one that falls down.
I just felt that you can't have a character fall in love so madly as they did in the last movie and not finish it off, understand it, get some closure. That's why the movie is called 'Quantum of Solace' - that's exactly what he's looking for.
The reason why Hollywood cranks out so many sequels and adaptations is because the audience is so overwhelmed with choices, the only way to get them in the theater is to give them something familiar.
I think that the reason you keep hearing that it's the golden age of TV is because original storytelling is happening all the time in that medium, and people are hungry for it. And I'm as guilty as anyone for being part of an industry that is capitalizing on existing stories, sequels, these things that we are seeing again and again and again.
The reason why Three Mile Island makes such a big impact is because of a Jane Fonda movie called 'The China Syndrome.'
Part of the reason I wrote the book was I wanted to understand for myself why such good people let themselves get treated so badly.
You never want to have a movie be derivative, because that's the worst if you ask me. I always want to be in original material, or an original idea, or an original vision, rather than a rehash of some other movie.
My father was a restaurant man, laundry man in his lifetime. And I've often wondered how and why did I become an actor? Where did I get the so-called talent to express myself? And I look back, and I see that my mother was very animated. I can remember that she used to, what she called 'bei zhu.'
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.
I did a movie a few years back, 'Medicine for Melancholy.' People will come up to me after a set and say, 'I really love that movie. When are you going to do another one?' Or 'I loved you on 'The Daily Show.' Why did you leave?' It's kind of the same as saying, 'I loved you in high school. You should have never left.'
'The Lego Movie' did better than we could possibly have imagined. We were very nervous that people would discount it because it is called 'The Lego Movie.'
I don't like sequels at all. If the movie's good the first time, why bother?
How did [the Holocaust] happen? Because God allowed it to happen. Why did it happen? Because God said, 'My top priority for the Jewish people is to get them to come back to the land of Israel.'
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