A Quote by Paul Wernick

We're really soaking every moment in. And, then, you know... should the movie do as well as we all hope, we'll start thinking about a sequel to Deadpool. — © Paul Wernick
We're really soaking every moment in. And, then, you know... should the movie do as well as we all hope, we'll start thinking about a sequel to Deadpool.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
'Deadpool 2' played on your expectations of what a sequel to a superhero movie would be.
Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.
I love so much what I do that I spend so much time thinking about it, and then I go home, and then I'm thinking about it, so it's nice sometimes when a movie is over, and then the niggling feelings about whether you've did it right or not start to ebb away.
I start thinking about the next movie before it's a success, so I can never have one moment of happiness or peace. I'm instantly thinking about the next one.
When a movie becomes very successful, it's automatic that people will start thinking a sequel, a prequel, a quel-quel.
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.
'Deadpool' is massively successful because they made a very unique movie. That uniqueness and originality, try to imitate that. Not, 'How about let's try to do 'Deadpool' on a train.'
Sometimes I feel like every movie I make could be the last. I know that's not really the case, but if I think about it that way and I'm very careful, then maybe I can build a career, movie by movie, that I'm happy with.
The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.
I took my AlDS test. You start reflecting... You start thinking about every nasty, skank-ass... It's like the movie Scrooge, and the Ghost of Pussy Past comes.
I went from people just thinking I was, like, a baby to people thinking I’m this, like, sex freak that really just pops molly and does lines all day. It’s like, 'Has anyone ever heard of rock 'n' roll?' There’s a sex scene in pretty much every single movie, and they go, 'Well, that’s a character.' Well, that’s a character. I don’t really dress as a teddy bear and, like, twerk on Robin Thicke, you know?
You should never start thinking about 'what might have been,' and you should also never start thinking about another boy when you're heartbroken over someone else.
I think the superstar thing is completely arbitrary. It's all about who had a movie that did well one weekend. Then, if you have a movie that doesn't do well the next weekend, then, all of the sudden, you've fallen from whatever. So it doesn't really mean anything for me.
To be honest, I'm not even thinking about America. If I was to start thinking about the enormity of 'Downton' and the size of the project, then I wouldn't be able to be very truthful to the work. I would start to watch myself too much. I'm not even thinking about it. Who knows what will happen.
And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.
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