Top 1200 Indie Movie Quotes & Sayings - Page 20

We excuse movies like 'Independence Day' that really lack logic and say, 'It doesn't make any sense, but it's a ride.' I thought a movie was a movie and a ride was a ride.

It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.

For the movie 'Bhaskar Oru Rascal' I had to let go of a part of my agreed salary and in fact, had to lend money to the producer when he couldn't meet his financial obligations at the time of the movie's release.

We didn't want to make a movie that excluded any fans. 'Venom' fans actually are of all ages, and so we wanted to be inclusive to all the fans that were excited about the movie.

I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.

The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.

I have the most eclectic music taste out there. I can be listening to an indie pop song just as easily as I could be listening to a Carly Simon song from the '70s to a country song.

I think 3D is a great innovation for the film business. But I hope it's not the thing that kills the golden egg because what's happening now is every movie there's pressure from the studio to turn it into a 3D movie.

I did Our Winning Season movie that Joe Roth produced, and Joe Ruben, who did Sleeping With The Enemy. He's a really cool director. That's where I met husband Dennis Quaid. Dennis and I met on location in Georgia, and I always thought that was a really great movie. That movie should be included, because it's a really terrific. It's a trite saying, but it's a real, great coming-of-age piece, and all the actors are wonderful.

I read the script [ of 'Steve Jobs' movie ], and it was very, very good. I wasn't sure they would want me to be in the movie, but I auditioned for it. Which I hadn't done in a few years. But I had auditioned in the previous few years for another movie that I did not get the part. And so my track record wasn't good. But I really wanted to audition because I was worried that I was going to blow it, and I wanted it to be on them for choosing me.

Well, when Kathy Kennedy, who is the president of Lucasfilm, came to me to ask if I'd be interested in working on this "Star Wars" movie, we talked about a young woman at the center of the story from the outset. And it was something that was always an important part of this movie.

I personally have never made a movie in Hollywood, because I don't want to get up in my own bed and then go to the movie set, and then come home at night to my real life.

I mean, this whole digital revolution is really eroding the director's importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.

You get to actually make your movie. As a filmmaker, that's the dream. That's why you get up in the morning, to be able to do that. You feel constrained sometimes, but if the movie makes sense in the budget realm, then it isn't hard.

I'm a big fan of character actors like Johnny Depp and Gary Oldman. My goal is to continue playing character roles in indie films and move into playing character leads.

It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job.

I did an ABC Family movie called 'Cyberbully' a couple years ago, and it was unlike any movie I'd ever done before. I remember just reading the script and thinking, 'OK, she cries in every scene.'

Yeah, unfortunately [ films like Miss Julie are a dying breed]. And that is sad, because we need these. Like we need books, we need classical music, we need ballet, we need opera, to remind us really of who we are and why we are, and we need in movie houses - even to be in a movie - where you sit and see not only excitement and man-hero, woman-hero, you need quietly, just like that Hawking movie we talked about, to know how people overcome.

I don`t want people walking out of a movie thinking I was trying to act or be some movie star. I want them to think, `That might make me like Jessica a little bit more.`

Let's face it: Sadness and evil are always more believable than happiness and love. When a movie reviewer calls a film "realistic," everyone knows what that means--it means the movie has an unhappy ending.

Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.

The movie is so fun. I've done period pieces before but nothing with this twist. And the movie is just full of such wonderful people, such young actors - people like Matt Smith that I've been friends with for a while.

Every couple of years we'll watch the movie and it's like watching home movies, seeing the ranch on-screen. But that movie Heaven's Gate, people are appreciating it more and more as time goes on.

If it's a huge tentpole movie, for instance with a movie like 'Tintin,' a year and a half, almost two years in advance, we were developing a videogame campaign and massive consumer products campaign.

I know a lot of actors picture themselves winning Academy Awards. I really just wanted to do a Christmas movie because it's the kind of movie that I really love to watch. I'm a sucker for the holidays.

I never considered myself a movie star, and I didn't want to become a movie star, because as soon as you do, you throw away that possibility of playing character. You really do. All of a sudden you're just an entity, you know?

Hollywood parties not only confuse me, but they often disillusion me. The disillusion comes when I meet a movie star I’ve been admiring since childhood. I always thought that movie stars were exciting and talented people full of special personality. Meeting one of them at a party I discover usually that he (or she) is colorless and even frightened. I’ve often stood silent at a party for hours listening to my movie idols turn into dull and little people.

I really like 'Passion of the Christ.' I like that movie. I also like 'We Were Soldiers,' and 'Braveheart.' And 'Napoleon Dynamite' - that movie was funny.

For me when I watch 'The Shining,' it's like watching a home movie. I understand how it scares people. I think it's an entertaining movie, don't get me wrong. But I look back on it with so many memories.

Along with loving the script, the reason I did 'Aeon Flux' was because I needed the job, and I couldn't find $5 million to make a movie independently - after making a fairly successful movie for a million dollars.

I wouldn't exactly describe 'Detention' as a horror movie. I mean, it does have horror elements in it, but it's got a lot more to it, and it's not a typical horror movie.

The idea of having an indie rock "career" while living in a remote backwater like Seattle was too ridiculous to contemplate. It was simply about having adventures, one day at a time, one song at a time.

In a traditional TV show or movie, your hero is always where the action is. But in real life, at the end of the movie 'Fargo,' when Bill Macy is arrested, Marge is nowhere to be found because it's a different jurisdiction, and she wouldn't be there. I took that to heart.

A lot of times I think people, when they're doing a movie that's a family movie, they're worried about this being too esoteric or too dark or too weird.

A lot of what is famous about film making are the movie stars and what is considered a movie star is a lot of great acting, but also a lot of physical beauty.

This is not a documentary. Are there essential truths that are captured by this movie? I think unquestionably the answer is yes. Do you have to change certain things to make it work? The book is called '13 Hours'; the movie is two hours long.

I swear to God, that movie comes up more in my life than any other movie. Someone says 'Bowfinger' once every month or two to me. And how many years ago did that come out?

I still haven't gotten over this thing of walking down the street and somebody recognizing you because you've been in a movie. There's this illusion that movie stars only exist in the movies. And to see one live is like seeing a leopard let out of the zoo.

I've never played a Dane in a movie. I've had offers to be in Danish movies, including for some good directors, but I either had a job at the time or, when I was available, the movie just didn't happen. Hopefully someday I'll do one.

My background is a small town with no movie theater. So... I always pictured myself onstage. I went to acting school and learned all the skills. I left early because I did my first movie and discovered that I really loved the minimalistic work with the camera.

The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'

If I have a better idea, I say, 'Can we try one like this?' I try not to step on writers' toes, but ninety-nine percent of the time, it ends up in the movie, and sometimes it's the line that everyone remembers and quotes from the movie.

I've never seen a movie director who was happier to be directing a movie than Dave [Mamet]. His sets, everyone who's ever been involved with one of them will tell you of the funnest, funniest sets you can be on.

There are only seven movie stars in the world whose name alone will induce American bankers to lend money for movie productions, and the only woman on the list is Ingrid Bergman.

Whether it's a movie I'm in or not, if there's a good movie, and it's low budget, and you know everyone's done it just because they were passionate about it and they cared for it, if it has any kind of audience, it's just a wonderful outcome.

The worst thing ever for me is go see a movie, and the next day I go, 'What did I do last night? I have no memory of this $300 million movie I watched because I felt nothing.'

But I think once the word gets out that the movie is funny - funny is transcendent - it will traverse all demographic barriers if people embrace it as a funny movie.

I never get tired of talking about 'Galaxy Quest.' I am so proud of that movie. Our only fear was that we were having so much fun making the movie we got concerned it might not be as good as we thought it was going to be.

You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.

I do not proactively approach Hollywood, but also I do not always turn down offers. But since I'm living as a movie director, I have a desire to shoot something like 'This is a Hollywood movie!' at least once in my lifetime.

When Maurice touched a keyboard, it was like something from a movie, magical. He would always give you something from a movie, and you'd go, what did you just play... immediately inspirational writings, amazing. That's what we're going to miss.

Catterick' was originally a movie. That was what we intended for it and we had the money for it and everything. But we couldn't be bothered - I know that sounds terrible, but it's the truth. At a later stage we went back, split it up and made it into the TV series. But, yeah that was supposed to be a movie and we just didn't bother.

I don't want to be 'box-office girl,' but I don't want to be 'that indie girl' either.

At the end of the day it's got to be a good movie, it's got to be a funny movie, and it's got to make people think, 'Hey, I couldn't have spent my time any better.'

I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.

The first movie I ever cried at was when I was 10 years old and saw 'The Notebook' in theaters. I was like, 'Whoa, so weird. Crying at a movie? I'm not supposed to do that. So weird.' I didn't know that art could make you do that.

It's such a huge endeavor putting a full movie together, especially an independent movie. I tend to kind of do them when they come my way more than something than I go out and actively pursue.

I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.

People always ask me if I hate the nuns. Do I make my movies extra dirty to piss them off? I always say no, that's not the point. To a Catholic, a movie is only dirty if it makes you want to have sex more. If it makes you feel sick, disgusted, ashamed of your own body, then it's not a dirty movie at all. It's a Catholic movie. And I make very Catholic movies.

I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.