Top 1200 French Movies Quotes & Sayings - Page 16

Well, I haven't really been able to shoot in California for a while. Little movies yeah, but the big movies we can't shoot there. It's just a shame that Arnold Schwarzenegger can't deliver on this level.

What we're most aware of in 'Eight-Legged Freaks' is how similar it is to other movies, a recombinant mutated species itself, the product of the crossbreeding of the suffering-from-gigantism movies of the 1950s and the 1990 B-picture classic 'Tremors.'

The movies saved my life. I grew up in the great depression, the only child of a pair of star crossed lovers. My father lost his job. My mother drank. They fought. The movies were my escape.

We need to see men and women as equal partners, but it's hard to think of movies that do that. When I talk to people, they think of movies of forty-five years ago! Hepburn and Tracy!

As a kid, I thought movies were boring. My parents would hire VHS recorders for the weekend and watch Bollywood movies. I'd get bored and go out to Stoke Newington common to play football.

Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.

My favorite film is 'The Empire Strikes Back.' My writing, and my personal taste in movies and books, tends toward works with a darker tone, and 'Empire' fits that the best of all the movies.

The most important quote about poetry and politics that I know is from a different situationist, Guy Debord. He was locked in a debate with the French Surrealists, many of whom by the 40s and 50s were part of the French communist party apparatus. Many Surrealists eventually argued for instrumentalizing art for political ends. Debord countered, "I don't want to put poetry in the service of revolution. I want to put revolution in the service of poetry".

Some movies are entirely too heavy, and some movies have no meat in them.

The movies are about big tent pole movies and big action and effects.

I also wonder why is it that so many of the movies and books that are detective stories are also the most aesthetically interesting? From Hollywood noirs to horror movies like The Shining [1980].

The first movies were made by technicians building their own cameras. Movies became an art when technicians worked on the technique and artists took care of the content.

I've made movies that are real boy movies - but I've had so much fun over the years working with women and getting good performances with women and with strong female characters.

I love horror films. I love ghost movies and haunted-house movies.

I love scary movies. I like blood and gore, and I love Halloween movies.

I don't have anything against either of the Dead movies, The Texas Chainsaw Massacre, none of those movies. If it scares somebody, I think that it is serving a valid purpose. It is doing what the filmmaker intended. But, it is not something that you hand to kids.

I know I repeat myself in all my movies, but I just let it go, let it happen. Clearly, I'm not finished with that issue. But they seem to me like completely different movies. They're definitely coming from me.

Movies were invented for Jimmy Cagney, and he was invented for the movies. A perfect match.

I like to make movies the way people made movies in the '70s, where they lived and died with these stories, and cared about them, and went to war for them, and they all said something they wanted to say.

Escapism always has its place, but when movies connect to other things around us and suggest implications that haven't been considered before, that's a dividend, too, even when our love of movies becomes complicated as a result.

People keep telling me, "You don't like boys!" And I'm saying, "Wow, no, it's just that you're not used to them being objectified in movies, but women are so often objectified in movies and we don't care."

People look at technology as sometimes an end to things, and it isn't an end in certain cases. In the movie business, the act of creating in the art form of movies, the craft of movies is completely technical, and that's all it is.

I liked writing, and I loved movies, obsessively loved movies, but I had never made the leap of thinking I would actually come out here and write stuff.

I like storytelling movies and more than that I like historical movies; and I think someday I'll definitely make a movie about the past 50 years history.

I definitely think for up and coming filmmakers, people graduating from film school, people that want to do their own movies, horror movies are a great way to go.

Audiences go to the movies to feel - and I feel like when people watch movies, their hearts are opened. I think that's the best way to influence change in the right direction.

I've made quite a number of movies that I've never even seen and I've made some movies that I thought were good that nobody saw... Sometimes they end up on television.

There are a lot of movies about women's psychology, I think almost all of them are directed by men. I mean they all really spoke to me and are amazing movies, but I feel like there's something that they don't understand even if they do a great job.

I don't know if she should worry too much, I mean some of our greatest writers have had movies made of their books, lots of Hemingway novels were turned into movies, it doesn't hurt the book.

I've made three musical movies which is pretty good considering that not many are made but I was lucky in other ways. I came along when independent movies were starting to boom.

There are movies that I've made where I thought I was going to be good, but when it was cut it together it wasn't. And there are a lot of movies that, for one reason or another, just don't become popular. So to me it's always been a little bit of a roll of the dice. That's the way it goes.

As the acting class was going on, I just realized I just knew more about cinema than the other people in the class. I cared about cinema and they cared about themselves. But two, was actually at a certain point I just realized that I love movies too much to simply appear in them. I wanted the movies to be my movies.

Movies are my religion and God is my patron. I'm lucky enough to be in the position where I don't make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.

Now, I love movies so much, but I find a lot of movies to be arrogant in the way they're kind of know-it-alls - they have perfect characters on the screen that know everything about themselves.

I would say that since I was nine years old I've always wanted to write and direct horror movies and action movies. There's never been a time in my life where that wasn't all I wanted to do.

The '80s just had this sense of outrageous fun coupled with great stories and characters. Then there's the practical effects and buckets of gore in movies. These are movies that, for the most part, still stand up to this day. But I guess the real reason for my love and obsession with this period is these were my first horror movies. I was a teenager during the '80s and I think spending that part of your life in that particular time really has an impact on you for the rest of your life.

I made, like, five movies while I was in college. I think they just weren't memorable movies. I've taken breaks as the years have gone on - I burn out every once in a while.

We need to see men and women as equal partners, but its hard to think of movies that do that. When I talk to people, they think of movies of forty-five years ago! Hepburn and Tracy!

I was always interested in movies the way everyone is interested. That is, I liked to go to the movies

There are a lot of kids out there copying and distributing movies - not because they care about seeing the movies or sharing them with their friends, but because they want to stick it to the movie business.

There is no English equivalent for the French word flâneur. Cassell's dictionary defines flâneur as a stroller, saunterer, drifter but none of these terms seems quite accurate. There is no English equivalent for the term, just as there is no Anglo-Saxon counterpart of that essentially Gallic individual, the deliberately aimless pedestrian, unencumbered by any obligation or sense of urgency, who, being French and therefore frugal, wastes nothing, including his time which he spends with the leisurely discrimination of a gourmet, savoring the multiple flavors of his city.

Good movies beget other good movies. So when a movie captures the imagination and hearts of people around the world, it's going to have a positive influence on similar genres getting made.

The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.

One reason Cassavetes is a hero to me is that his movies grew with him; they reflected the stages of his life. He made movies about where he was at that time. That's what I want to do with my films.

In a way, editing is not unlike the movies. The best books, just like the best movies, are a collaboration. They're only as good as the compromise made between the artists involved.

Actors do these really gross, gun-'em-down movies, and I always wonder why. They're not good movies. And it's like, "Why are you doing them? Aren't you rich enough?"

When you really study espionage movies, or spy movies, the beginnings are really set up to have, like, an amazing bit of action, but at the moment you're watching it, you have no idea why or what it's about.

If you look at 'Coraline' and you look at 'ParaNorman' certainly you can tell that there are threads of the same DNA between those two movies, but they're two very different kinds of movies. They look different, they feel different, they are very different kinds of movies.

I do believe that people go to the movies - for one reason or another - they go to the movies to have an experience.

It was just an honor for me to be doing the role of Miguel because I identify with him. I grew up watching Disney movies, and 'Coco' shows a wonderful tradition, culture, and celebration that not many movies have shown.

I actually did a lot of improvised movies or movies that were partially improvised.

We've always loved going to the movies. Our mom and dad are big movie fans. They'd take us on these movie orgys where we'd see sometimes three movies in a day.

There have been 14 versions that I can find of Burke & Hare movies. They have all been horror films and all the movies have taken place in Victorian times, which doesn't make any sense.

We have not looked at any particular movies [in creating War Horse], but again, it's hard not to see the similarities between those movies [because of those filmmakers' influence on the industry].

I'm just a movie fan. I used to go to the movies just to watch movies.

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.

Movies and television show build on top of each other, succeed one another. In a large way, in terms of filmmaking aesthetics, they evolve because they can't help but be a consequence of all the movies and TV shows that came before it.

I'm a big fan of the movies of the '60s, more than a fan of the movies of the '70s.

When I talk about movies like 'Rosemary's Baby' and 'Stepford Wives,' I really noticed that these movies were able to address fears surround the women's lib movement in a way that was engaging, not preachy, but fun.

Hollywood has the idea that movies have to be dumb. But especially movies for or about teenagers have to be really dumb!