Top 1200 Enough Movie Quotes & Sayings - Page 17

I don't think of myself as a movie star. I'm a movie worker. I come from a railroad family. I come from the corn.

After making a movie, maybe you weren't able to shoot many of your ideas, because a movie is only 1 1/2 or two hours long, but TV gives you space to film a lot of things.

It's harder to maintain that internet kind of fame. It requires daily work, as opposed to a movie star who can make a movie once every two years and stay in the public eye. I respect it.

I don't think of myself as a movie star and I can pretty easily convince other people that I'm not a movie star.

I don't just do a movie to do a movie. Of course I want to amuse people, but some of Madea's greatest moments are when she gets to talk about child rearing and bullying and all kinds of things like that.

I find enough mystery in mathematics to satisfy my spiritual needs. I think, for example, that pi is mysterious enough (don't get me started!) without having to worry about God. Or if pi isn't enough, how about fractals? or quantum mechanics?

I've seen the Pokemon movie, which is probably the worst movie ever made on any subject ever.

I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

You have a soft spot in your heart for each movie, and you're doing certain things. You're learning as you're going, as a director, and each movie is its own entity.

It is the idea that it's a movie in a movie. So I did it.

I thought I'd have time to become a movie star. And it didn't happen, did it? We're still waiting. And they're saying, 'Don't hold your breath, kid.' Even movie stars can't get movies, you know what I mean?

At lilac evening I walked with every muscle aching among the lights of 27th and Welton in the Denver colored section, wishing I were a Negro, feeling that the best the white world had offered was not enough ecstasy for me, not enough life, joy, kicks, darkness, music, not enough night.

Certainly, every movie has to be looked at differently. But I think what happens is, every couple of years, a movie comes along that everybody then tries to copy.

Mystery makes movie stars! If you see someone on the cover of the weeklies all the time, why would you want to pay to see them in a movie?

I've made some stupid decisions, so I have to be careful. I once said 'no' to a film that was a number-one hit. And 'Date Movie' had the smallest budget of any movie I'd been in, and it went to the top of the box office.

I took it really seriously... as serious as any actor could take a movie . I had so much fun doing movie Dragonball . But I take any part I do seriously because I feel a sense of responsibility to the young kids who have saved their money to go and see a movie. I feel it's my responsibility to make it the best I can, because I don't want to let anyone down.

I feel like the job in editing is to let the movie tell you what it is. So again, it's like sculpture. You just start taking away, you add a nose here, you cut off, like, the side of the cheek over here in the crease, and you have a face. But it really reveals to you what it means to be over time, and if you have enough time.

A movie moment in a theatre would never be comparable to the same movie moment elsewhere no matter how cheap the big TV becomes.

I really like my first movie a lot, 'Kicking and Screaming.' I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't 'Citizen Kane' right out of the box, you know? It wasn't 'Sex, Lies and Videotape.'

I think when you get all the money and all the freedom, rarely do you get a good movie out of it or a movie that you're proud of.

I loved Tolkien and I loved 'Star Wars,' which was the first memory that I have being in a movie theater. And, of course, that was the defining movie for me as a kid.

If a movie is nominated for, say, an Academy award, that movie will instantly become popular in Japan. There's always been a bit of a complex the Japanese have about being taken seriously in the West.

I really like my first movie a lot, "Kicking and Screaming." I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't "Citizen Kane" right out of the box, you know? It wasn't "Sex, Lies and Videotape."

I think people like to be thrilled and excited. And a scary movie is a safe way to do that because you're not actually doing it. It's entertainment. You know that you're in the confines of this two-hour space of safety in the movie house.

Linguistically, and hence conceptually, the things in sharpest focus are the things that are public enough to be talked of publicly, common and conspicuous enough to be talked of often, and near enough to sense to be quickly identified and learned by name; it is to these that words apply first and foremost.

If somebody is smoking a joint in a movie, I say it's a cigarette - a big cigarette if it's a Cheech and Chong movie.

I think as an author you have to allow a movie to be separate from the book. It's an entirely different animal. I almost never mind when a movie changes or cuts something - as long as it helps the film work better.

'Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.

Tim Burton is underrated. I loved Big Fish, loved that movie, think it's the best movie of the year, hands down. Really impressed with that.

When it comes to the ratings, I don't know what the rating system is. So when it comes to me, I've learned, with the little experience that I have, that when I feel really good about a movie in the editing room, it works. And when I've felt like a movie wasn't working, it didn't work.

I was raised by my aunt and we bonded over the eight-o-clock movie on TV. We'd watch everything from James Cagney in 'White Heat' to Lon Chaney in 'The Wolf Man' and every Bogart movie.

I find music the the clearest and easiest way in to what a movie will feel like - more so than visual references or other movies or dense dossiers of research material. Every now and then I'll send a piece of music or two to people I'm working with - actors or heads of department - when I think it'll help them get a sense of the kind of movie I'm proposing. Often those pieces will end up in the movie - sometimes they won't.

I went at 4:30 in the morning to a café 500 meters from my place. And it was another city... Totally different than where I go every day. And I said, "God, I will do that again." That's another subject I want to do. It's my street, suddenly different at 5:00 in the morning. I can shoot for one week. That's enough to make a movie.

When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

I haven't done a movie without a member of the original cast of 'Zombieland' - they've all been in every movie I've done.

You don't make a movie, the movie makes you.

Music plays a huge role in the movie. The music in Star Wars, I can't imagine what the movie would have been like without it. It made the film.

How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?

A movie that I'm involved with and have a lot of love for, which is On The Road, does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

My very first acting gig was in a movie for Russ Parr. He did this movie called 'Love for Sale,' and that was my first role in any film.

I don't do the running commentary as the movie's playing. I think you should be able to watch the movie without listening to me talk while the movies playing.

And why had Deb's last boyfriend dumped her? I dumped him. Maybe you didn't French-kiss him enough. I promise you that wasn't it. Tell me how many times a day you kissed, and I'll say if it was enough. Four hundred. Not enough.

I've personally been involved in movies where people on set were talking about awards for the movie, and I bought into the hype. And then the movie would come out, and not only was it not good, it was horrible.

Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.

I go where I think I can enjoy myself. Sometimes it's on a big movie, and sometimes it's even on a silly movie.

As a mother, the one thing that always goes through your head is, You're never enough. You never can be enough - or do enough - for your kids. It's a never-ending issue for me.

That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.

We went through all the scenes and they became kind of funny and they expanded a little bit and because it seemed to be working so well in the movie, they added a couple of things later on in the movie and that's how it turned out.

I've never tried to make a movie to pay an overhead. We're in a very creative business, and I want to make movies because I enjoy that movie or that material.

At the root of creativity is an impulse to understand, to make sense of random and often unrelated details. For me, photography provides an intersection of time, space, light, and emotional stance. One needs to be still enough, observant enough, and aware enough to recognize the life of the materials, to be able to 'hear through the eyes'.

When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.

I remember seeing Richard Pryor's first movie; it was a midnight movie when I was in high school. I must have been about fifteen. It was one of the most cathartic experiences of my life. I'd never laughed that much.

Certainly, 3rd acts of any movie are hard. It's always hard to have something that will give you the promises from the beginning of the movie. That's true for all movies.

I think the approach of the character for us is the same in a silent movie as in a talking movie because we had balance, we had lines to learn.

I was a medium-level juvenile delinquent from Newark who always dreamed about doing a movie. Someone said, 'Hey, here's $7 million, come in and do this genie movie.' What am I going to say, no? So I did it.

Sometimes things work out, sometimes they don't. I never know how successful a movie is going to be - when you make a movie you're always hoping for the best.

Think of the centre of interest in a painting as you would read it in a novel or see it in a movie. The crisis or climax is that point when you simply can't put the book down or wouldn't dare leave the movie, for whatever reason.

The attraction of watching a movie called 'Alien vs. Predator' is you're anticipating - and the movie has to deliver - battle scenes and fight scenes between the two creatures.