A Quote by Simon Pegg
I don't know about doing a sequel. I think you can retroactively damage a product by adding to it.
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They always say 'Is there going to be a sequel to Bad Santa?' and you know, I mean, a long time ago they would talk about, you know, we're going to do a sequel to that but it was never serious. And they said 'Would you do it?' and I said out of all the movies I've done, that was a lot of fun, and maybe I would do a sequel if it ever came up and it made sense, but I said I don't think that's ever going to happen.
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.
I was also a fan of the first one Saw movie. I knew there was a danger in doing the sequel, especially like this. They have such a core audience for the Saw movies. The fans of the movie actually demanded a sequel. They were on the internet going crazy. I don't even go on the internet. I don't even know how all this stuff happens. But they wanted it and one the one hand that's good, because you know there's an audience.
In the build-up to a fight, I am scared, and I do worry about myself. But once I step into that arena, that worry has gone. A switch gets flicked, and I want to do damage. All I care about is doing damage as fast as possible.
The ideal time period to get an investment is when you've already proved your concept and know what you're doing, and it's about adding water to the seeds.
There's nothing personal in it [THE SKRIKER]. I'm not ever inclined with any of the plays to say, This is about that, because plays are about the whole event that they are. . . . I was certainly wanting to write a play about damage - damage to nature and damage to people, both of which there's plenty of about. To that extent, I was writing a play about England now.
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.
I care desperately about what I do. Do I know what product I'm selling? No. Do I know what I'm doing today? No. But I'm here, and I'm gonna give it my best shot.
When doing a series, I look for something that has an idea you can think about, something that I'm noticing and aware of and thinking about, because when you're doing a series, you think about more than just jokes... you know, when you're doing a comedy, you think about what's going to reflect people's experiences, in a way.
I know that presidents often have really bad phone conversations. What they usually don't do is go out and talk about it. That gets to my point about doing some damage on the periphery of our core policies.
For me, as an actor, the most challenging thing is creating the character in the beginning because you have to write their backstory. The easy part about doing a sequel is that you've done the film, so you already know their backstory.
I was thinking about doing another film at the same time, which was the sequel to Basic Instinct and I just had a feeling that wasn't going to happen. You know, I just kind of read the writing on the wall.
I've retroactively made all that wasted time rotting my brain into research. It makes me a hypocrite when I try to tell my own daughter, "I don't know, I think we've played a little too much Mario."
Even if it's a sequel, lots of people have to give their all to make a game, but some people think the sequel process happens naturally.
I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.
I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.'
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