Top 1200 Batman Movie Quotes & Sayings - Page 20

Comic books sort of follow with the move - if people see the movie and if they're interested in the character and want to see more of the character, they start buying the comic books. So a good movie helps the sale of the comic books and the comic books help the movie and one hand washes the other. So, I don't think there's any reason to think that comics will die out.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

Most actors, unless they're big movie stars and can carve out huge chunks of time to focus on one movie that takes six months - the rest of us have to jump around to make ends meet.

You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.

I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.

Every artist who drew Batman after creator Bob Kane was a better artist than Kane [...].

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.

The movie was kickass, which was appropriate, because tonight it was called Kickass: The Movie.

I was always a fan of Nic. With his movie, you know it's "A Nic Refn Movie."

I think about it, and I realize there's been some version of a Batman or Spiderman or Superman franchise since I was a boy, since before I was a boy.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.

Having that North Star for every story [about Batman] is really key for me. It allows me to go farther and farther off the reservation.

You don't want to make a movie just to make a movie. You better have a point of view.

I've written tons of scripts, and when I wrote 'The New Girl in Town,' I read it to my parents, and they suggested I make a movie out of it. I got a few friends together, and I shot the movie in one weekend, and then my mom and I edited it.

Arsenal fans are real lovers of the game. They don't miss anything in the stadium and are there for the team and the individual players. I have to admit I love banners like 'We don't need Batman, we've got Robin' and stuff like that.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

I figure if kids see a movie about 12-year-olds chopping each other up, they can probably see a movie where everyone keeps their clothes on and doesn't use foul language.

To do a movie about someone who actually lived gives you two responsibilities. You have to try to be accurate to the facts of what he did and what he was like as a character. Then, at the same time, you have a responsibility to make a movie that entertains and can get an audience.

We've always loved going to the movies. Our mom and dad are big movie fans. They'd take us on these movie orgys where we'd see sometimes three movies in a day.

Loved 'Get Out,' super good from start to finish. I mean, it had everything you'd want in a movie. It was funny, scary, and it wasn't stupid. It was a smart movie but not in a fussy way. It was so good.

Spare a thought for 'Suburbicon' as it swiftly vanishes from America's megaplexes. This is George Clooney's movie about - well, I'm not sure. It's supposed to be the sort of movie that doesn't get made much anymore: starry, not that expensive, 'middlebrow.'

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

I just made a movie. There's a kind of a banter that some people might recognize as being screwball. There are no cell phones, no DVD playersit's set in a timeless Brooklyn. Hopefully, it's a good, old-fashioned movie.

There have been many times when you spend a number of months and the finished product is not what you wanted to see. And 'Batman Begins' was what I wanted to see.

In a movie that's sort of a single monster movie, like 'Jaws,' once you see the animal, it identifies the threat, and you're able to start working on ways to take down the threat.

We [with Judd Apatow] started talking about ideas and he said, 'Well, I'm going to do this movie Knocked Up with Seth [Rogen], but after that you guys should do a movie together.' I read it and thought that it was very funny.

Everybody wants a movie career. I found that pretty elusive. I did make a movie with Martin Sheen about a nuclear scientist who has a religious experience. I don't even know what it was called. I don't think it was ever released.

It's weird because movie-making, and especially movie theaters, have always been so old-school, and it wasn't until 3-D that a lot of them were forced to have digital projectors and even digital distribution.

When you have a major movie star, and then they're surrounded by local extras, it takes me out or makes me more conscious of what's going on, as opposed to losing myself in the movie.

In Providence, we didn't have a first-run movie theater. But we did have an indie movie theatre on the Brown campus. That was the theater we'd go to. I think, as highbrow as it sounds, that I grew up on the films.

You eventually come to the conclusion that there's only so much you can do with these established characters, and you start wondering who among us will be the one to create the next 'Superman' or 'Batman' or 'James Bond' or next 'Lone Ranger.'

I think whether you're a movie critic and have seen a million movies, or you're just a normal popcorn movie watcher, you can tell the difference when someone is just laying it on too thick.

If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.

Ghost Team approached me. They said, "Hey, it's mid-October, do you want to go shoot a movie on Long Island for three weeks about stupid people chasing ghosts?" I had never done anything like that before. It's kind of a mock-horror movie. What I didn't realize was the whole thing takes place at night, as a horror movie should, and so I didn't realize that we'd be working until 6 in the morning every night, or morning.

What makes Batman and what makes other superheroes work is the myth that when life is at its lowest, and when you need a hero, a hero swings down and helps you.

'Batgirl' and 'Harley Quinn' are the first DC hit books in a while that aren't starring Batman personally, really. But some of the attempts to reach the female audience have been really depressing to me.

Everyone wants to be Batman; I want to be Robin. I'll make Robin cool. Make him legit.

I'd have all these crazy sort of 'who would win battles' with my friends who were big fans of other comic book characters, and I'd always find a way for Batman to win. It was deep for me, man.

You have to accept that Batman is a fact of life in Gotham City, and on top of that, you have to accept that somehow this city manages to function with a police force that's 90% corrupt.

Every time I do a movie like 'Finding Neverland' or 'Chocolat' or 'Shakespeare' in Love,' we deal with the creative process, but there's humor and fun along the way. I always love that kind of movie.

I grew up loving X-Men, Spider-Man and Batman. Those are obviously the key big ones, but there's always something kind of cool about Aquaman still, the idea of creating a huge world that is on our planet.

I always wanted to play a 'Batman' villain; that was a big one for me. I may have missed the boat, but I always wanted to do that.

I don't know if you hear this often but I would say The Razor's Edge (loosely based on a great W. Somerset Maugham novel). This was Bill Murray's first dramatic role so everyone thought he stunk in this deep character but I thought he and the movie were great. The movie takes place over decades so you see Murray's character go from goofy playboy all the way to wiser, older person. It's basically a movie version of the journey I described.

We met in an airport in Las Vegas, Harrison Ford and I, and he said, "I just finished a movie called 42. I play Branch Rickey. There's this kid in it playing Jackie Robinson. I think it's a pretty good movie."

I'm convinced I was the only kid ever who had a Death on the Nile [1978] movie poster and a Murder on the Orient Express [1974] movie poster on his bedroom walls.

I feel like a zombie movie is kind of like the gold to hear movie.

There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.

My dad and I used to do movie marathons when I was a kid at the Chinese Theatre, and I just remember thinking, 'One day I want to have a movie here' And then later on, when 'Save The Last Dance' premiered there, that was definitely a full circle moment.

There have been so many interpretations of both Batman and the Joker in the comic books themselves over the decades, from one extreme to the next, and in the media, from one extreme to the next.

I'm really interested with the way light plays on images and one of the artists that really reawakened my interest in comic books was Frank Miller and his treatment of Daredevil, and then Wolverine and, of course, Batman.

Last summer when we were preparing for the movie, I actually kind of wanted to stay fairly uninformed about it. As we went through the process that we do in the movie, I wanted to be a little wide-eyed.

For me, it was a lot of pressure to make another movie after 'Inglourious Basterds' because I didn't want to do something wrong. I wanted to have a beautiful project for another American movie.

To some degree, I don't think 'Batman' works in a completely modern city; I think Gotham has be reflective of his personality and those of his enemies.

I love action-adventure-type films - mythical adventures like 'Lord of the Rings' or superhero films like 'Batman.'

Because to me, what is interesting about this movie [Real Steel] is its combination of relationship naturalism with. It's like a single conceit movie. The world and the people are very much the way we know them to be, but this sport has evolved.

Our characters were antiseptic but we weren't. And if you remember what we did on BATMAN, as the scripts were written very funny, we played them very straight.

It makes you feel good when a movie works. Usually when I see an old movie I've made, I say to myself, 'Oh God, why did I do this?' and 'Why didn't I change that?' and things like that.

A sister is like yourself in a different movie, a movie that stars you in a different life.