Top 1200 Kung Fu Movie Quotes & Sayings - Page 16

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

'The Lego Movie' did better than we could possibly have imagined. We were very nervous that people would discount it because it is called 'The Lego Movie.'

Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.

I don't know if you hear this often but I would say The Razor's Edge (loosely based on a great W. Somerset Maugham novel). This was Bill Murray's first dramatic role so everyone thought he stunk in this deep character but I thought he and the movie were great. The movie takes place over decades so you see Murray's character go from goofy playboy all the way to wiser, older person. It's basically a movie version of the journey I described.

'Breaking Away' was a great experience. It's the kind of movie that engenders a lot of goodwill from people. It's a movie that they cherish. and I feel very welcomed and accepted by people because of that.

And then to see the whole movie, you're pretty much waiting until the end of production. And the major lifting in terms of editing and all that stuff is done before you shoot the movie. That's an unusual way to work.

Everybody wants a movie career. I found that pretty elusive. I did make a movie with Martin Sheen about a nuclear scientist who has a religious experience. I don't even know what it was called. I don't think it was ever released.

My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.

I think whether you're a movie critic and have seen a million movies, or you're just a normal popcorn movie watcher, you can tell the difference when someone is just laying it on too thick.

You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.

We met in an airport in Las Vegas, Harrison Ford and I, and he said, "I just finished a movie called 42. I play Branch Rickey. There's this kid in it playing Jackie Robinson. I think it's a pretty good movie."

First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.

Most actors, unless they're big movie stars and can carve out huge chunks of time to focus on one movie that takes six months - the rest of us have to jump around to make ends meet.

If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.

For me, it was a lot of pressure to make another movie after 'Inglourious Basterds' because I didn't want to do something wrong. I wanted to have a beautiful project for another American movie.

There was one vampire movie that Gerard Butler was in, 'Dracula 2000,' and they touched on something interesting, but it only worked in the context of that particular movie, which was that the original vampire was Judas.

Because to me, what is interesting about this movie [Real Steel] is its combination of relationship naturalism with. It's like a single conceit movie. The world and the people are very much the way we know them to be, but this sport has evolved.

It makes you feel good when a movie works. Usually when I see an old movie I've made, I say to myself, 'Oh God, why did I do this?' and 'Why didn't I change that?' and things like that.

The movie was kickass, which was appropriate, because tonight it was called Kickass: The Movie.

I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.

My dad and I used to do movie marathons when I was a kid at the Chinese Theatre, and I just remember thinking, 'One day I want to have a movie here' And then later on, when 'Save The Last Dance' premiered there, that was definitely a full circle moment.

I feel like a zombie movie is kind of like the gold to hear movie.

I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

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.

I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.

I've written tons of scripts, and when I wrote 'The New Girl in Town,' I read it to my parents, and they suggested I make a movie out of it. I got a few friends together, and I shot the movie in one weekend, and then my mom and I edited it.

I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.

The movie I worked on that had the most problems and interference came from the smallest indie movie I've ever done. I couldn't believe what the director had to go through; he was destroyed.

A sister is like yourself in a different movie, a movie that stars you in a different life.

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

The difference between a movie and a play is that the production you end up with is the production. If a movie that I spent time on turns out to be crap, it's never going to be made again.

We [with Judd Apatow] started talking about ideas and he said, 'Well, I'm going to do this movie Knocked Up with Seth [Rogen], but after that you guys should do a movie together.' I read it and thought that it was very funny.

I'm so proud to have work in this movie, "Brokeback Mountain," a movie that once again shows us that love is what makes us all very similar in spite that we can be so different, too.

I'd really like to do a movie, either as a producer or director. My ultimate fantasy would be to direct a movie and produce the entire soundtrack. I don't really see myself acting.

Comic books sort of follow with the move - if people see the movie and if they're interested in the character and want to see more of the character, they start buying the comic books. So a good movie helps the sale of the comic books and the comic books help the movie and one hand washes the other. So, I don't think there's any reason to think that comics will die out.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

Spare a thought for 'Suburbicon' as it swiftly vanishes from America's megaplexes. This is George Clooney's movie about - well, I'm not sure. It's supposed to be the sort of movie that doesn't get made much anymore: starry, not that expensive, 'middlebrow.'

When you have a major movie star, and then they're surrounded by local extras, it takes me out or makes me more conscious of what's going on, as opposed to losing myself in the movie.

I just made a movie. There's a kind of a banter that some people might recognize as being screwball. There are no cell phones, no DVD playersit's set in a timeless Brooklyn. Hopefully, it's a good, old-fashioned movie.

Last summer when we were preparing for the movie, I actually kind of wanted to stay fairly uninformed about it. As we went through the process that we do in the movie, I wanted to be a little wide-eyed.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

In a movie that's sort of a single monster movie, like 'Jaws,' once you see the animal, it identifies the threat, and you're able to start working on ways to take down the threat.

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.

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.

The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for in a way. They wanted it to be something special. Also, none of us were really known then as well.

I just hate when things get labeled as "black movies." I don't say, "Oh, this weekend, I want to see an all-white movie," or "I want to see a black movie." I just go to a movie because I saw the previews and I relate to it. I want to see it because the previews look interesting.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

Why does everyone like this movie? And Americans kept going to the movie. So Hollywood figures out the market, and the market wants to know what happened in Benghazi.

I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.

When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.

To do a movie about someone who actually lived gives you two responsibilities. You have to try to be accurate to the facts of what he did and what he was like as a character. Then, at the same time, you have a responsibility to make a movie that entertains and can get an audience.

I've learned that you never have to think about how to make money. You need only to focus on what you think is going to be a good movie or what's a movie I'd like to watch as the audience.

I'm convinced I was the only kid ever who had a Death on the Nile [1978] movie poster and a Murder on the Orient Express [1974] movie poster on his bedroom walls.

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 saw the movie Sid & Nancy. It was a pretty good movie. It didn't really make me a punk rock fan. But anything that's new, as long as it's good I enjoy it.

In Providence, we didn't have a first-run movie theater. But we did have an indie movie theatre on the Brown campus. That was the theater we'd go to. I think, as highbrow as it sounds, that I grew up on the films.

Dreams come true, but then things happen that are beyond anything you could dream. To be in a movie and to be in the same room participating in a movie with Meryl Streep? Come on!

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.