A Quote by Eve Arden
Our kids seldom even get to see a movie. When we go to a movie, it's an event - and we make it an event.
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One of the great pleasures of going to see a Daniel Day-Lewis film: you haven’t seen him in five years. Where have you been? So, it’s a special event, right? Well, if you want to go see a movie that I’m in, it still may be a special event for you, but, you don’t feel like you don’t know where I’ve been.
One of the great pleasures of going to see a Daniel Day-Lewis film: you haven't seen him in five years. Where have you been? So, it's a special event, right? Well, if you want to go see a movie that I'm in, it still may be a special event for you, but, you don't feel like you don't know where I've been.
It's a mistake to just go make a movie where the whole thing is talking down to the kids like, "Ok, we gotta bring the IQ of this movie down because it's a kids movie" You don't have to do that, kids can laugh and parents can laugh at different parts and that's fun, and you see that with all of the great kids movies.
To make a movie, and we can call it a movie or we can call it a piece of art, to make a movie that has that much mass appeal what it is? What is it that makes kids in China want to see that movie [ 'Avatar'] and makes my dad want to see that movie.
Because movies have gotten so expensive, and they're so expensive to market, that means that for a movie to break even or to make its money back, everybody has to go see the movie, and if everybody has to go see the movie, then it can't be about anything.
If I'm doing an event, if it's a charity event, where it's a walk-around event, where I gotta put a thousand small plates out in the course of a four-hour event, I gotta make sure I can do something that I know I can produce, that's going to be consistent and good all night long.
Box office is one of the strongest tools we have toward preserving our ability to make our movies. We really can make a difference by purchasing a ticket each opening weekend to a movie made by a woman, even if you don't like the movie or the filmmaker and even if you don't see the film.
When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.
I wouldn't recommend young kids see 'Speedway Junkie.' It's definitely an age-appropriate movie - dark and realistic and edgy. If young kids want to see me, go see the Christmas movie.
If you're doing a family movie, you don't want it to be stupid. Farting chihuahuas is not my idea of entertainment for kids or adults. So you try to make a movie that adults can see on one level, and kids can see on another.
A non-event ... is better to write about than an event, because with a non-event you can make up the meaning yourself, it means whatever you say it means.
It's remarkable how a soundtrack can be so important to the storytelling and the experience. I think the music is going to make people see the movie a lot. The music is going to make you want to go see it again. You have so much fun in the movie, and it's music that you want to share with your kids, anyway.
I'm developing some high-frame-rate 3-D processes that are going to be, I hope, indistiguishable from reality. This will be quite an unusual cinematic event - you don't just tell an ordinary story, it's more of a first-person experience where the melodrama doesn't get in the way. Being inside the movie rather than looking at the movie.
I love the idea of making movies that kids and adults can go to together and both get something out of it, and not just, 'Oh, I've got to take my kid to the movie because they want to see the next, you know, 'Hannah Montana' movie or whatever.'
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
The Avengers films, ideally, in the grand plan are always big, giant linchpins. It’s like as it was in publishing, when each of the characters would go on their own adventures and then occasionally team up for a big, 12-issue mega-event. Then they would go back into their own comics, and be changed from whatever that event was. I envision the same thing occurring after this movie, because the Avengers roster is altered by the finale of this film.
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