A Quote by Ridley Scott

I've always avoided sequels, unless I felt there was something fresh. — © Ridley Scott
I've always avoided sequels, unless I felt there was something fresh.
The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.
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.
Many Japanese painters and calligraphers would change their names intentionally to keep their relationship to the art always fresh. This way, others' expectations can be avoided.
We always looked at the movie sequels that we admired, and they always pivot and they always try new things. Even if you swing and miss, at least you're trying something different.
I have always felt like you really don't have a genuine confidence unless you demonstrate the ability to do something. You can talk about it, but you have to demonstrate it.
I felt really comfortable [on The Maze Runner]. From day one, I loved the script and the story, and I thought it could be something really cool and interesting and original, in this generation of regurgitated projects and sequels and stuff, so I'm proud to be part of it.
I think sequels should be earned and we won't do it unless the script is better than the first one.
Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.
I think true connectivity is something that is rare in sequels. I mean I love the first 'Die Hard' film; you won't find a bigger 'Die Hard' fan than me. But I feel like with the sequels, they're just taking that character and dropping him in different scenarios. There's no real connective tissue.
I don't want to do something unproductive with my time, so I decided to do something musical. So it felt good to say, 'Yeah, I'm producing.' It gave me a fresh vibe - inspiring in a different way.
When you showed someone how you felt, it was fresh and honest. When you told someone how you felt, there might be nothing behind the words but habit or expectation. Those three words were what everyone used; simple syllables couldn't contain something as rare as what I felt for Sean. I wanted him to feel what I felt when I was with him: that incredible combination of comfort, decadence, and wonder; the knowledge that, with just a single taste of him, I was addicted.
I take a firm stand against sequels. My industry brethren are a little shocked at how firmly I'm committed to not doing sequels.
Artists are always looking for new things and fresh ground and fresh air. If it feels new to me, there's a chance it'll feel new to the audience and we'll have found something.
When you look at the 'Roseannes' and the 'Will and Graces' - when those reboots or sequels or whatever you want to call them are well-executed and have a fresh angle that's relevant, it's a big, warm comfort hug to the audience.
life is meaningless unless you bring meaning to it; ... it is up to us to create our own existence. Unless you do something, unless you make something it's as though you aren't there.
People always talk about good, fresh country air, but I kept getting wiffs of something that was neither good nor fresh but definitely country.
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