Top 1200 Movie Theatre Quotes & Sayings - Page 19

I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

As opposed to a movie [Real Steel] where everything feels fantastical, it was really important to me, and I recognise it's not the first movie with robots in it, but that blend of naturalism in performance, writing and design with the futurism of this sport. That was the idea.

The creative process on 'Margaret' was incredibly satisfying. I loved the cast; I had a great time writing the script. I liked making the movie. Believe it or not, I actually like editing the movie. It was all the rest of it that was such a nightmare.

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.

That was one of the things I hadn't really put together. Since the first movie and this movie, the rest of us have been living that revolution, largely engineered by people who were Tron fans. That's pretty deep, man.

Arnold Schwarzenegger, Bruce Willis, they make bad movie after bad movie.

I have an Honors Degree in Drama from the University of Alberta, but when it was done I knew a life in modern theatre was not for me. While figuring out what the hell I might do instead of theatre, I spent a couple of days on a horror film doing stunt work. I'd never been behind the camera before, and I loved everything about it. I joined the local film co-op - The Film and Video Arts Society of Alberta - because you could trade skills for experience. These indie filmmakers were making their own stuff their own way, all the time. Instant education.

A movie that I've seen probably the most is 'Fanny & Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day.

I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.

The movie I worked on that had the most problems and interference came from the smallest indie movie I've ever done. I couldn't believe what the director had to go through; he was destroyed.

My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.

A movie that I've seen probably the most is 'Fanny Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day.

Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.

The first theatre I ever found was in the backyard of a new suburban community in the foothills of the Poconos. My dad was a young FBI agent at his first or second posting - we're all from New York. He was posted in Scranton, Pennsylvania and he put the family in a brand new red-brick apartment. It was in a C-shape and behind it was a small hill that led up to the woods. There was a white-washed brick wall that was a perfect theatre! There were windows and all the ladies behind the windows in their apartments. I would go out there after lunch every day and sing opera.

There was one vampire movie that Gerard Butler was in, 'Dracula 2000,' and they touched on something interesting, but it only worked in the context of that particular movie, which was that the original vampire was Judas.

Being in the moment with these guys was just a profound experience every day, and when we shoot a movie it's actually a very short process, especially an independent movie like this. It was only thirty five days of shooting.

I've learned that you never have to think about how to make money. You need only to focus on what you think is going to be a good movie or what's a movie I'd like to watch as the audience.

'The Lego Movie' did better than we could possibly have imagined. We were very nervous that people would discount it because it is called 'The Lego Movie.'

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 studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.

Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.

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.'

When I watch a movie, I don't make a sound or move. The more I'm into the movie, the more bored I look.

Every movie is different. Every movie requires its own sort of photographic voice.

I love Apocalypse Now because it's a war movie, but yet it's not really a movie about war.

What the hell did I do in the 80's? Midnight Run. A perfect movie. Just a perfect movie.

I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.

When you've been a character in a movie - and this has happened when we've done concerts as Spinal Tap or as The Folksmen - people see you as characters walking out of a movie. And you appear in public, then, to play, it's a very schizophrenic thing.

The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.

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.

So I’m thinking this is the part of my movie where things appear as if nothing is going to work out. I have to remind myself that all movie characters go through this sort of dark period before they find their happy ending.

There are no minor decisions in movie making. Each decision will either contribute to a good piece of work or bring the whole movie crashing down around my head many months later.

I'd really like to do a movie, either as a producer or director. My ultimate fantasy would be to direct a movie and produce the entire soundtrack. I don't really see myself acting.

I don't mind reminding people it's a movie, or that you're telling a story. Everybody knows this, but for some reason, we want to be real. I don't get it, I like the fakeness of my craft. I don't think the audience minds-they all know we're making a movie.

I just felt that you can't have a character fall in love so madly as they did in the last movie and not finish it off, understand it, get some closure. That's why the movie is called 'Quantum of Solace' - that's exactly what he's looking for.

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.

First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.

The difference between a movie and a play is that the production you end up with is the production. If a movie that I spent time on turns out to be crap, it's never going to be made again.

Why does everyone like this movie? And Americans kept going to the movie. So Hollywood figures out the market, and the market wants to know what happened in Benghazi.

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

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.

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.

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.

An action movie, a sci-fi action movie, would be my favourite thing in the world to do.

In 'The Condemned,' if you saw the movie, that's all me; I'll go toe to toe with anyone in an action movie.

I don't want to tell them what to take away from a movie, I think a movie should tell that.

Some of the best movie experiences I've had are when I just walked by the theater and decided to see a movie I hadn't heard anything about and bought a ticket, because that's really the first time you can experience it untainted.

I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.

'Breaking Away' was a great experience. It's the kind of movie that engenders a lot of goodwill from people. It's a movie that they cherish. and I feel very welcomed and accepted by people because of that.

I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.

Dreams come true, but then things happen that are beyond anything you could dream. To be in a movie and to be in the same room participating in a movie with Meryl Streep? Come on!

I'm so proud to have work in this movie, "Brokeback Mountain," a movie that once again shows us that love is what makes us all very similar in spite that we can be so different, too.

The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for in a way. They wanted it to be something special. Also, none of us were really known then as well.

And then to see the whole movie, you're pretty much waiting until the end of production. And the major lifting in terms of editing and all that stuff is done before you shoot the movie. That's an unusual way to work.

I just hate when things get labeled as "black movies." I don't say, "Oh, this weekend, I want to see an all-white movie," or "I want to see a black movie." I just go to a movie because I saw the previews and I relate to it. I want to see it because the previews look interesting.

Sometimes in the middle of a presidential campaign, there's a political movie, and people are sick of hearing about politics, and they don't want to see that movie. They'd rather see "Godzilla."

When you are in every scene of a movie - which I must say I really much prefer - you have more control over the film that you're making. Because the choices you make as an actor can't help but change what the movie is saying.

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.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

I saw the movie Sid & Nancy. It was a pretty good movie. It didn't really make me a punk rock fan. But anything that's new, as long as it's good I enjoy it.