Top 1200 Cowboy Movie Quotes & Sayings - Page 13

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.

I have a huge crush on President George W. Bush. I saw him at a recent fundraiser, and he`s a babe. He`s got that Ronald Reagan charm. I think he`s hot. I respect his wife, but if he wasn`t married I`d be putting on my cowboy boots and coming around.

I've been in movies where so much of the conversation was about, 'Well, after this movie, you're gonna be the biggest movie star.' I sort of have learned that you never really can predict any of that.

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.

Rob Lowe, who I thought was really good in the movie [ Bad Influence], had his performance overshadowed by this sort of tabloid approach to him and the movie.

When I started on 'The West Wing,' that was at a time when this was still a stigma, because movie stars didn't do TV. Now, every movie star is desperate to find their 'True Detective.'

Looking back on my 'Full House' wardrobe days, I think I almost regret all of my fashion moments. Oh man, I mean the high-waisted jeans, the cowboy boots, and the tent dresses I used to wear? I don't know what I was thinking.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’

From my own internal fanboy perspective, there's nothing that I hate more than seeing a three minute trailer for a movie where I feel like it's shown me the entire movie.

But we all have experiences of having a truly good time after watching a movie that is not thought-provoking, don't we? I do too and I've been wishing to do that kind of movie. I think 'Collectors' is exactly that.

I could have took the easy way and just been a cowboy, looking good, trying to make my money off Hank Williams and being this clean-cut guy. But I always wanted to be myself and go against the grain.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

I pretty much lived movie to movie in my younger years because I loved spending money, and I didn't really have a concept of 'assets,' but as I got a little older, I bought art.

Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.

As a kid, I loved any guitarists, whether it was Elvis Presley, Lonnie Donegan, Chuck Berry or even the cowboy guitarists like Gene Autry and Roy Rogers. The image of the guitar appealed to me.

I never became a cowboy or baseball player, and now I'm beginning to wonder if I ever really became a writer. I find that I hesitate to put that label on myself, to define myself by what I do for a living.

I can go to a movie theater and watch a movie I was in with an audience... but with television, the opportunity to meet the fans at Comic Con or any other situation, it's a chance to enter that circle; it's that sharing.

I'm very honored to play one of the women in the movie Volver, and it was special acting with all those other talented actresses. Carmen Maura is a legend and it was a thrill to make a movie with her.

I never expect anything. I am always amazed at why anybody goes to any movie or why anybody doesn't go to any movie. Any movie you make, you make it because you're hoping somebody wants to see it, but you never know.

When you make a movie, you really have to be clever and smart, find something new for the worldwide audience because you aren't making a movie for just France or Germany; it's for everyone in the world.

The Freebie cost virtually nothing. We funded the movie ourselves, people got paid, but were mostly paid in the back end, we used one of the cheaper cameras we could get. The movies have a look to them, you can sorta point out the really low-budget movie. So even if the heart of the movie and the story are really, really great, they always sorta feel a little cheap.

It's a fact that kids watch TV. But if you think back, when you watched cowboy movies, you would go out and play cowboys. TV and movies motivate people.

I'm sure when 'Midnight Cowboy' came out, it took a couple of minutes to get used to the voice and the look of Dustin Hoffman, or to even recognize that it was Dustin Hoffman.

I couldn't do country, with all due respect to all country music artists. My parents dressed me up with a cowboy hat and we'd go to the rodeo when I was younger and it traumatized me for life.

In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

I always wore cowboy boots and drove a truck, and talked like this. So everywhere I would go in comedy people would say, "Foxworthy, you ain't nothing but a redneck from Georgia!" It kind of became a formula joke.

The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.

When I did 'The Passion,' nobody believed in the movie. Everybody was telling me, 'You shouldn't do this movie... But I wanted to play Mary Magdalene. I thought that I could do something strong and deep with this character.

The National Endowment of the Humanities is the reason we have in northern Nevada every January a cowboy poetry festival. Had that program not been around, the tens of thousands of people who come there every year would not exist.

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

I liked Western country, like cowboy songs, when I was a little kid. Then I developed a taste for Hank Williams and those sort of songs as I got a little bit older.

Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.

I love the game of basketball. I guess it started with 'Space Jam.' Right after that movie, I went out there to my little Flight hoop and tried to do every dunk in the movie.

The theatrical marketplace is a challenge. What do you have to do to get someone to purchase a movie ticket to your movie? You have to do something that they've never seen before; you've got to enthrall them in a new way.

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

I had such a good time doing that movie [Sister Act 2]. My daughter's in that movie. It was a fun film to do. And it shocked a lot of people, because they loved it, and they take it with them.

I read James Joyce's short story 'The Dead,' and I love that movie for many reasons. It was the last film I made with my father, and it's emotional for me as well as a movie I'm proud of.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

There was another Judy Garland movie on TV, and it wasn't 'The Wizard of Oz,' and I was so confused. I was like, 'Wait a second, what is Dorothy doing in this movie?' And that's when I became fascinated. I didn't realize there were actors.

For me, 'The Crystal Skull' was something I'd never done before, and I loved every minute of it. Working with Harrison Ford as well - he's a cowboy from Montana, the most unassuming man you'll ever work with, fabulous guy, and I loved it.

My advice to any actor who's playing, quote, unquote, "extra" to think of it more like Stanislavski did. It's not a small part. You are the lead in the movie, in your own movie.

The difficulty of getting a movie made through a major studio is so extreme that when a movie comes out, everyone should give it four stars because it was accomplished.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

Hardy was every loose-limbed cowboy in warn denim, every pair of blue eyes, every battered pickup, every hot cloudless day." -Liberty

You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.

I never try to guess what anyone else will take from a movie. Every movie is such a different experience for each and every person. I don't like it when people try telling people what they should take from a movie. You should go see it with fresh eyes and see for themselves.

"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes.

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

When I was younger I saw a movie called 'Butch Cassidy and the Sundance Kid' with Paul Newman and Robert Redford. Those two actors and that movie was my inspiration to want to be an actor.

I always had a dramatic flair. I'd like to dress up like a cowboy, play make-believe. But I didn't realize acting was something I had to do until I got to college.

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

As a little kid watching horror movies, if you only got to see the monster for the last two minutes of the movie, I thought that movie pretty much sucked.

A movie like 'Sugar' you couldn't make today. The climate for making movies with no movie stars, half of it in Spanish, at the budget level that we had is gone. These are high-risk elements.

I read the book and I think, "Well, this is the movie we're going to make," and then someone else reads it, and they take a completely different movie from it. And both are valid.

I've always loved comic books. As a kid, I used to read cowboy stories and historical comics about other worlds, unknown places that would take me out of myself and which helped to develop my imagination.

I think of Terrence Malick's movie Days of Heaven - one of Richard Gere's first movies - you can push pause on almost any image in the movie and it looks like a painting.

In regards to The Haunting, people compared it to the old movie, which is unfair. We didn't have the rights to the movie. I couldn't duplicate a single thing because that would have been legal infringement.

I get a lot of dramas, but I'd like to do a romantic comedy type of movie; that'd be a nice step for me. No more screaming or running or shooting... for one movie where I can just be in love with a boy.