Top 1200 American Movie Quotes & Sayings - Page 2

There is no way that we know what is going on between the African American and the Asian American. We don't understand what an Indigenous American is. We don't understand what a Latino American is.

I'm a believer in screening movies early, and using the movie itself to help sell the movie. If you can't do that, I feel like you shouldn't be releasing the movie.

In the early '90s when the American independent movie started, it held personal vision as a premium. That was brilliant timing.

There are artists in Belgium who try to imitate American artists. But it's like, if you're Belgian pretending to be American, you won't be better than the American because you aren't American. You have to do your own stuff.

I think I understand the line between my job and the director's. I have no interest in directing. Not my movie, not your movie, nobody's movie.

Anytime a movie or television show retreats into certain American pasts, I'm both annoyed and relieved.

An auctioneer is such a uniquely American thing. I keep thinking in my head, perhaps it's not as American as I think, but it feels so Southern. It feels so American. Like, hundreds of years of American tradition is involved in it.

I think a lot of American comedies tend to apologize for their bad behavior in the last 10 minutes of the movie.

I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!

I love to go to a regular movie theater, especially when the movie is a big crowd-pleaser. It's much better watching a movie with 500 people making noise than with just a dozen.

The 2-D movie works as well as the 3-D movie. I want to make sure that people like the 2-D version. It's not a gimmick. It actually improves the viewing experience, but the movie stands on its own.

I remember a lot of conversations where I was constantly hearing, 'You've gotta do this movie so you can do that movie. You've gotta make a big movie so you can make a small movie.' But I can't act like that.

When you make a movie, it's a movie, and things change based on who you put in the movie. And so it's, you know, obviously not exactly your life, but I feel that I did learn a lot about my parents.

I have this problem with violence. I've only done one movie in almost 20 years where I killed people. It's called Perdita Durango. It's a Spanish movie. I'm very proud of the movie, but I felt weird doing that.

I want to do a movie, but it has to be the right movie, whether it's independent or a studio movie. I'm much more open to being a supporting actor. At the age of 60, I'll be second fiddle. Fine. I'm happy to do it.

I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.

The nation of Iran is threatening to sue the makers of the movie Argo. They say the movie was an unrealistic portrayal of their country. You can't do that! That would be like Scotland suing over the movie Shrek.

'Rogue One' does not feel like a 'Star Wars' movie. There are no scrolling yellow letters. There is no classic John Williams score. It feels like a movie of a different type set in the 'Star Wars' universe, a movie where there is no magic to save you. It is not a movie for children.

Hey, I saw this old British movie, all the people spoke so different, you could hardly understand them. But everyone here speaks American as good as you and me. What's with that?

I think The Exorcist is the best American horror movie ever made. Friedkin was at the top of his game.

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.

I grew up watching American movies. My favorite movies have always been American, since as long as I can remember. I always had this huge respect for American filmmakers and American actors.

I think the universal themes of "American Pie" are what make it attractive to everybody. How to people relate to these characters? It's because these five male characters in this movie wouldn't ordinarily be in the same friend group and they each have their own part to play in the whole thing. There's a character for everybody in this movie that they can relate to... that they either were or knew someone that was. To cover the range like that is pretty unique to our franchise.

I did a movie called 'American Splendor', based on the comic book writer Harvey Pekar.

Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.

Yes, Barack Obama could easily be cast as an American president in a movie or TV show.

I tell everybody on the first day of making a movie that if anyone's here to further their career, they should leave. I'm gonna make the movie in such a way that we won't have a career when this movie comes out. Because the people who hold the moneybags are not going to want to share any of that money with us to make the next movie!

'Inside Out' - that was a really good movie. That's the first animated movie I saw since 'The Lego Movie.'

You can be a Polish American, or an Arab American, or a Greek American but you can't be English American. Why not?

I still remember 1997 when I made the movie 'Storm Riders;' that moment, a lot of American producers want to hire me to make movies in the States.

My first movie was a movie that had a bunch of people dying in it - the typical popcorn movie. That's where I got my start.

People sometimes, they just stop because they see this scope movie. They say "oh, this is a real movie, this is not a TV movie."

I am so delighted when I get to see a really good movie. In that experience the artifice of movie making, the photography or the cutting style, falls away because you are inside the movie.

There are two phases to a movie. First you shoot the movie, and then you make the movie. Generally, post-production is longer than filming.

I was hesitant about doing too big a role in an American movie because it meant losing my German accent.

Often, American audiences are underestimated by producers and movie studios. They often think we're dumber than we are.

There is no way that we know what is going on between the African American and the Asian American. We don't understand what an Indigenous American is. We don't understand what a Latino American is

My first movie that came out - 'Shopping,' a British movie starring Jude Law and Sadie Frost - there were certain journalists in the U.K. who just eviscerated that movie.

There is some pleasure in doing a movie and problem solving on a specific movie and getting a movie made, but once they are done, we don't look at them again, much less relate one to another.

I've tried the female thing. I was in a movie called Dinner for Schmucks a couple of years ago with Steve Carell and I created a female character for that movie. And after a few months of trying her out on the road it just didn't work. I mean, I can think like a terrorist, I can think like a white trash guy, I can even try and think like an African American, but I can't figure out how a woman.

If you have a flop movie, so what? And if you have a hit movie, it's 'so what,' too - it's on to the next movie.

... the connection between imperial politics and culture is astonishingly direct. American attitudes to American "greatness", to hierarchies of race, to the perils of "other" revolutions (the American revolution being considered unique and somehow unrepeatable anywhere else in the world) have remained constant, have dictated, have obscured, the realities of empire, while apologists for overseas American interests have insisted on American innocence, doing good, fighting for freedom.

I'm a European, and I live there. I work in European films, and then once in a while, I make an American movie.

'American Dream' is a small little movie made for under a million dollars. Totally independent feature.

Obviously [Can't Hardly Wait] wasn't in American Pie, which was a movie about some teenage boys.

I'm getting offers for movie stuff. But it shows how facile the movie industry is. I mean, they don't know I can act. I guess they like my record and think I have a nice complexion? I don't know. How many people work and wait tables to get that break? I really don't feel entitled. Everything's so corrupt, you know? Especially the tastemakers. I trust the American public much more than the tastemakers.

I think what I'm doing is quintessentially American because I'm not American - even though I am on the verge of getting my American passport next week - I have a fantasy of what is American. Big spaces, Marlon Brando, James Dean, easy living.

We need American sources of resources, we need American energy, brought to you by American ingenuity and produced by American workers.

It used to be that the highest ambition of American novelists was to write 'the Great American Novel,' that great white whale of American fiction that would encompass all the American experience in one great book.

I started out in Hollywood and I owe a certain amount of loyalty to both the American movie industry and this country.

I love and admire the American culture and the American dream. I learnt so many things about the American shoe industry and marketing strategies. I caught the secrets of American casual wear, that is elegant and wearable, retro and modern, and mixed it with an Italian touch, luxurious and handmade.

You can do a good movie, or you can do a good movie that can help people to feel the idea of what it is like to live. It can be good in an artificial way; it can be also a good movie for your own existence. You don't know that when you do a movie. You don't know if you succeeded, which is the most difficult thing.

I've met people who will go to a movie that I can't stand and they say that they saw that movie ten times. There's something they like and identified in that movie, and I don't see it.

I don't watch movie trailers. I just go to the movie, and I don't know anything about it, because that's the only way I appreciate the movie fully.

I think American Werewolf in London is the greatest werewolf movie of all time.

The American War of Independence is the expulsion of the intrusive elements, alien to the American essence. If American reality is the reinvention of itself, whatever is found in any way irreducible or unassimilable is not American.

It's easier for Europeans to give money to a movie that says a blow job is what brought down American democracy.

After 10 years of French torture - psychological torture - it's great to do an American movie.

You can window-dress and promote a movie as much as you like but if the movie hasn't got substance and isn't an exciting movie, people won't watch it.

I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them anyway!