Top 1200 Enough Movie Quotes & Sayings - Page 18

Explore popular Enough Movie quotes.
Last updated on December 19, 2024.
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."
I am a creative person and watching a movie is like writing a story. So when I see a movie, I also see the editing, the music, the camera angles, etc.
Having toured a lot really influences some of the decisions you make in the studio - is this part anthemic enough for people to want to sing to it at a show? is this part dynamic enough? Is this drum beat 'arena' enough? You think about it a lot when you are creating, for sure.
I found Jumpy on YouTube. I wrote a movie about a guy with a dog and was like, "What have I done? This is going to be a nightmare. We're a small movie and we're never going to be able to do this."
The movie cheerfully offends all civilized notions of taste, decorum, manners and hygiene... The movie is vulgar? Vulgarity is when we don't laugh. When we laugh, it's merely human nature.
Auditioning is important, and I understand that. If there is somebody making a movie, if there is somebody manufacturing a movie, they want to look at the goods. I get it. I mean, I've been in that position.
The movie - any sports movie - becomes a praise song to life here on earth, to physical existence itself, beyond striving, beyond economic necessity. — © David Shields
The movie - any sports movie - becomes a praise song to life here on earth, to physical existence itself, beyond striving, beyond economic necessity.
And our lips. There isn't enough skin, enough spit, enough time, for the lost years that our lips are trying to make up for as they find each other. We kiss. The electric current switches to high. The lights throughout all of Brooklyn must be surging.
I've just always been interested in alter-naturalism and seeing if you can make real life interesting enough to be dramatic without enhancing it. Like, could you make a movie or write a play in which there's no compression of time, there's no enhanced event, it's just real life?
She wondered why they didn't understand that their true selfs were good enough, and if they weren't, then the someones they weren't good enough for, were really the ones not good enough.
The world record is like you we went to the theater to see this movie, and it was really good, and it had an unexpected ending, and you left the theater saying, 'Wow, that was such a great movie.'
I always look for... hopefully look for a challenge. And you're always looking for the next summit to hit. Even if it's a personal one. It needn't be some great sense of monumental... It just has to be important to you and big enough and special enough and individual enough that you get up for it. And that can be anything.
What the hell did I do in the 80's? Midnight Run. A perfect movie. Just a perfect movie.
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 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.
In the future, I want to do an action movie! I'm going to get in shape, get ripped, and have my Chris Pratt transformation. And then become a movie star like that.
I love Apocalypse Now because it's a war movie, but yet it's not really a movie about war.
Arnold Schwarzenegger, Bruce Willis, they make bad movie after bad movie.
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.
Whenever you start-give it your best. The opportunities are there to be anything you want to be. But wanting to be someone isn't enough; dreaming about it isn't enough; thinking about it isn't enough. You've got to study for it, work for it, fight for it with all your heart and soul, because nobody is going to hand it to you.
You never do a movie and not want it to work. You accept whatever it is. You have to, but nobody in their right mind would not want the movie to be getting talked about at the end of the year.
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.
There has been enough suffering in our country, there has been enough of children whose dreams die before they have a chance to grow and there has been enough of our elders who, having served their nation, are forced into indignity in their old age.
The first thing I did as a child was draw. I wanted to make animated movies. I think Disney's 'Cinderella' was the first movie I ever saw. 'Peter Pan' was the first movie I ever saw in the movie theater. I grew up with 'Dumbo' and 'Pinocchio' and 'Sword in the Stone.' Those were the movies I wanted to make.
Architecture is not about building the impossible, which we can do if we have enough money and enough tools and enough computers. It is about building what is appropriate and about attaining beauty through such an approach. I describe this premise as 'inherent buildability', and I believe it is central to what I do.
'V for Vendetta' is an amazing movie, and it had an obvious message, but it was done so perfectly. I got out of the movie, and I wanted to march so hard. I wanted to be an activist.
So I'm a one movie at a time person, I don't develop. Normally we do a movie then one thing leads to another. If something pops up that catches my attention, then I'll decide.
Movies become living organisms that graduate from a filmmaker's sphere of influence and pretty much look back and tell you how they need to be said goodbye to. A movie often turns around and looks at you and says, "Here is who I am, and that's maybe now how you see me, but that's who I've become." And you've got to be open enough to go with that.
There's a big difference between trolling and just attacking guys to attack guys, to get under people's skin, and to genuinely express how you felt about something. Like if I go to a movie for example, and I watch a movie, and I wasn't a fan of it. I don't mind turning to my family or some buddies I'm with and saying "oh man, I really didn't like that movie." But I've never acted or directed in my life. But I'm able to voice my opinion about whether or not I enjoyed it or not.
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 tried to get a baseball movie made a couple of years ago and I don't think it didn't happen because I was a woman, but because sports movie don't sell internationally.
I will never become a director or a movie producer. I was always looking at picture directing because I didn't know what to do! You can't be a movie director without real preparation.
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.
Anybody who understands how a movie gets made understands that a deep-pockets player is not going to make a movie that has anything defamatory in it without protections.
Me and Lucas Black are actually starring in that movie 'Fast and the Furious 3: Tokyo.' It's gonna be hot and different. My first action movie, so it's gonna be great.
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.
We'd go to studios with ideas to do movie musicals and they'd literally kick us out. They said, 'Audiences aren't interested in movie musicals. You're wasting our time.'
Every movie is different. Every movie requires its own sort of photographic voice.
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.
An action movie, a sci-fi action movie, would be my favourite thing in the world to do.
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.
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.
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.
The Olympic gold was like going to a theater and seeing a movie that had the ending you expected. But you left the theater thinking, 'You know, that was a good movie.' — © Ashton Eaton
The Olympic gold was like going to a theater and seeing a movie that had the ending you expected. But you left the theater thinking, 'You know, that was a good movie.'
As a director, you can't stop a guy if he thinks something's hysterical, because if you do, then he'll get depressed because he thinks he didn't come up with a good joke. So if a guy's going on some run and it's killing him, and he thinks it's hilarious, you gotta do enough so that he thinks you can use it in the movie.
There will never be enough thanks, never enough words nor thoughts high or deep enough to adequately convey His worth. I don't know how to give back to the Lord what He deserves other than to just offer Him my life and every part of me.
Making a movie is a collaborative effort and sometimes all the ingredients don't work out. I know that every now and again I am going to make a movie that won't work.
I don't want to tell them what to take away from a movie, I think a movie should tell that.
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.
I knew that I would have to be brave. Not foolhardy, not in love with risk and danger, not making ridiculous exhibitions of myself to prove that I wasn't terrified--really genuinely brave. Brave enough to be quiet when quiet was called for, brave enough to observe before flinging myself into something, brave enough to not abandon my true self when someone else wanted to seduce or force me in a direction I didn't want to go, brave enough to stand my ground quietly.
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.
In 'The Condemned,' if you saw the movie, that's all me; I'll go toe to toe with anyone in an action movie.
Sometimes you do things for personal reasons. I made a very personal movie in We Are Marshall. I was afraid of flying, for a long time, and that's a movie about a plane crash.
There is a difference between movie actors and TV acting, especially with movie stars, which is they know their face is 20 feet high on the screen. They know they don't have to do much.
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.
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 had a year of therapy and I swear to God, I went in that with a certain level of self-love, but not enough to keep me out of bad relationships, not enough to try and save people who were toxic for me, not enough to recognise when something was bad, to walk away.
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.
'Red Planet' was a tough movie to make, and I learned a lot about myself. To me, that's a lot more interesting than how a movie does.
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.
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