Top 1200 Gangster Movie Quotes & Sayings - Page 12

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.

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.

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 saw the police thriller The Blue Lamp' and remember realizing the power that Dirk Bogarde as the gangster exerted over the audience simply by his expressions in the close-ups. I could see how the people around me reacted to him and realized that I wanted to have the same effect.

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.

All rappers predominantly sound the same and want you to think their meanest person in the world, and that they're all gangster and all that. My acting allowed me to be playful and crazy, and it helps me tell stories and all that. I think it's a good time; rap needs that kind of stuff.

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.

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.

"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 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.

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.

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.

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.

Starting my carrer, I had three rules. I called a press conference and said: you can't kill me in a movie; I win all my fights in a movie; I get the girl at the end of the movie if I want her. They weren't about to hear that, and I knew that I would have to do that myself, but I set the public up and set the press up letting them know what I was going to do: continuing to sell the brand and image that I had.

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.

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.

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.

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.

Your main contribution is spray painting your nickname on other people's things. And my cousin, who's a 'gangster', he's like, 'No, Tash, you don't understand; you throw a fat piece up there, that piece is yours.' I'm like, 'No one thinks you own Costco.'

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 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.

We were lucky to get Sam Jackson and Jeremy Irons and John McTiernan back. Long movie and hard movie to make and difficult for me because instead of working, my biggest concern was not repeating things I had done it in the previous films. And it rang notes in my head of episodic TV. A sequel is not a new movie; it's a chapter in a movie that you have already seen. Thank god Sam was there and thank god Jeremy was there. Again, it went outside the template of that series of films but it did well and made a ton of dough and the third chapter of a lot of sequels is always the one that falls down.

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.

Some of my friends became gangsters. You became a gangster depending upon how fast you wanted a suit. Gangsters weren't the stereotypes you see in the movies. I knew the real ones, and the real ones were out for big money.

I'm not a gangster, I'm not a thug.. I'm just me and if I feel like someone is trying to hurt me.. yeah I'm gonna hurt 'em.. if you come and you ain't coming right I'm gonna blow your head off.

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.

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.’

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.

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.'

The individualists stare into each other's eyes and yet deny each other's existence. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal.

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 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.

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.

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.

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.

You know, Castle's the kind of guy that when he meets somebody, that's a connection for him. He remains connected to the people that he meets. That's the kind of guy he is, be they criminals, gangster rappers, mafia guys, art thieves, whoever it is, he nurtures those relationships.

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.

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.

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.

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.

'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

I was always raised on cowboy films, and then when I could start making choices about the movies I wanted to watch I found myself wanting to watch gangster films which were slightly more sophisticated than the baseline stuff that was in westerns.

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.

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.

As a conscious rap artist, you should not want to be in a gangster market. You should be trying to establish your own market, create a place where you can be yourself and make some money and feed your family.

Empty the cup every time and it comes back at twice as full. I developed that attitude when I was very, very young, when I decided I didn't want to be a gangster anymore. Whether it's just shining shoes, I said okay, I'm going to do this better than anybody else did it in my life.

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.

After a show, I'll get the 16-year-old white kid whose lip is pierced, his head is shaved and his parents hate him, and the young gangster from the screwed-up 'hood, and they say that now they realize there's someone out there who thinks like they do.

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 feel like at the end of your days, the last thing that's going to happen is that you're going to watch the movie of your life. It's very important to make sure that you love your movie and that you want to watch your movie, so I try to always make sure that I'm doing something fun and interesting.

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.

The thing that was fascinating and frustrating about Pac was that he clearly knew better than to go down the gangster road that he went down. Pac knew - and he was right - that thug energy could be redirected into fearless positivity.

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.

There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world. right now.

I just think [Gangster Party Line] is funny and stupid and all the dudes in it are real dudes. It's just a funny construction.

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.

I found a movie called “Light in the Piazza.” I finally made the movie with Olivia de Havilland and myself, but initially there was no way I could make that movie, so I went to work on becoming that character. They told me they had an Italian [actor], and I said, “That’s a Cuban boy!” His name was Tomas Milan. I thought that’s the craziest thing I’d ever heard: They have a Cuban who’s going to play an Italian, and I can’t play it because I’m an American.

'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 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.