Top 1200 Movie Business Quotes & Sayings

I think it's really important to have a life and have interests outside of this [movie] business, and not rely on this business to validate you as a human being. If you do that, you're really in a dangerous spot.

It's a roll of the dice in the movie business. I mean, every single movie is a roll of the dice. Any movie on paper could look like it's going to be fantastic. You know what I mean?

If you were in Clint Eastwood movies, you were in the Clint Eastwood movie business. You weren't in the movie business. You weren't part of Hollywood. This became clear early on; people stopped calling. They automatically assumed I was working exclusively with Clint.

People call me a movie star. If you're in the business, a movie star is someone who can make a film bankable. My name and $6 million will make a $6 million movie. I'm a working actor. Because I started late, I had a very short run as a leading man, and my films didn't make money in America.

'Straight Outta Compton' was such a great movie, and obviously, I'm in the music business, so getting to see that piece of history was amazing, and it was an incredible movie.

The movie business has been in enormous flux. It's always changing, and you've got to scramble. The Internet came along and devoured the DVD backend of the movie business. Suddenly you're watching dollars turn into nickels, and that's interesting to me.

The theater business has allowed me, in a way the movie and TV business has not, to do very, very interesting work. So that's what I do.

We love being in business with Guillermo [Del Toro]and frankly that movie, if you look it up, did I think more business than the first X-Men, did more than Batman Begins, our first movie, did more than Superman Returns, The Fast and the Furious, Star Trek- so for a movie that was an original property that we made up it's done really well.

The movie industry is brutal. It is dangerous. It is, for most, soul destroying. Creating art (music, books, films, etc.) can be beautiful and liberating, but trying to sell art, well, that is the movie business. There are few winners, and lots and lots of losers.

At Netflix, we realized that we weren't in business with the Toshibas and the Sonys of the world. We were in business with the guy sitting at home trying to find a DVD to watch. If we had the courage to focus on him, everyone - movie studios, electronics companies, Netflix itself - won.

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.

My first-ever job in the movie business, I was an art student at Carnegie Mellon, and they were shooting the movie 'Gung Ho' in Pittsburgh, and I worked as an extra for a few days. Michael Keaton bumped into me in one scene, and it's in the movie. And I worshipped him.

I consider anybody who has been able to make a living in this business [movie business] without having to do something else for a living for any period of time let alone 43 years would be a miracle.

Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.

Call on a business man only at business times, and on business; transact your business, and go about your business, in order to give him time to finish his business.

Even in our business, as is the world, we are in the age of specialisation. You see a lot of names of producers on a movie. If you have the idea, if you oversee the development, if you oversee the production, if you help package the movie, you sell the movie - you can be a producer. There's not a lot of us who do the whole gamut.

I've made movies that I thought were okay, but then I was very good. And sometimes you're in a movie and you think, 'I wish more people saw that' - because you're good. And it just works out that the movie gets lost. But that's show business.

Financiers don't support their directors to cast properly. They don't have the vision of an artist. They're casting to spreadsheets, and it's making movies very mediocre. The movie business used to just be called the movies. Now it should be the business movies.

I was always a singer. But I was always focused on being an actor as my trade. Music I do just for me. The movie business is very difficult but the music business is just impossible.

Any good business person applies financial discipline to everything they do. The movie business is and should be no different; I don't believe you have to sacrifice creativity to have business success. To the contrary, great art requires discipline.

There just is exponentially more money in the movie business than in the music business. As a result there are more people involved in the creative process.

The movie business is a big gamble.

You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.

The secret to the movie business, or any business, is to get a good education in a subject besides film - whether it's history, psychology, economics, or architecture - so you have something to make a movie about. All the skill in the world isn't going to help you unless you have something to say.

I grew up in a small town where I went to the movies a lot and fell in love with all these people. I also fell in love with the movie business. So all I saw were actors on the screen so I thought, well, that's what I have to be if I want to be a part of the movie business.

The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'

Everyone is so preoccupied by youth. People talk about how the movie business is a microcosm of the bigger picture, or life imitating art, but the business is guilty for getting women out of the way.

The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.

When the first movie to show the anger people have about the war is a grade Z zombie movie, that tells you all you need to know about how afraid of ruffling anyone's feathers people in the movie business are today.

This whole business of documentary being a second-class citizen is bullshit. A documentary can be as interesting, as dramatic, as sad, as funny, blah, blah, blah, as a fiction movie. Or it can be as awful as a fiction movie!

Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.

What I love about the way they both [Paul Thomas Anderson and Joaquin Phoenix] work is that all of the monkey business is on film. There's no monkey business outside of the monkey business of making the movie. There's no ego bullshit, there's no wasted energy. It's all directed at the story and that's rare.

If your family was part of the movie business, then watching 'Moguls & Movie Stars' is like looking at the family photo album: hilarious to members of the family, numbingly boring to those outside the family circle.

Maybe I thought the movie business would be a little bit different than the rock n' roll business, but, in fact, they're the same animal, just packaged differently.

The movie business was changing, I didn't want to turn 60 in the job. I picked 60 as an age where you are young enough to have a new life but not so young you can wait. And I had this incredible need: I had been so blessed in life and I wanted to give back. So I left Paramount with great joy, I have to say, and with great fondness for the memories I have in the movie business.

When we separate the word business into its component letters, B-U-S-I-N-E-S-S, we find that U and I are both in it. In fact, if U and I were not in business, it would not be business. Furthermore, we discover that U comes before I in business and the I is silent-it is to be seen, not heard. Also, the U in business has the sound of I, which indicates it is an amalgamation of the interests of U and I. When they are properly amalgamated, business becomes harmonious, profitable, and pleasant.

I don't blame the people for the fact that so many movies are bad. I think there's a corrupt, perverted, lazy and sloppy attitude that's pervasive in the movie business. The whole entertainment business is kind of crumbling around us.

Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.

Our fathers were actually business partners in the same real-estate firm, and we got together and thought, How can we get a movie together and get distribution and create a new movie genre? We started by making satires of commercials.

I feel I belong in the movie business and I belong in the security business. It's a natural for me.

Sometimes you think the movie is good and BOOM! Sometimes you think it's no good. BAAM! The movie business is a big gamble. You never know.

One big lesson I learned from movie [making] was I don't do creative projects that I headline unless I have all the control. I can't deal with having to live with other people's screw ups, and that's just sort of the way the movie business works. The people with the money are in charge. Until I'm in charge, I don't want to play that game.

I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.

It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.

Yes, I love the movie business. In fact, there's no business like show business.

Television is like the movie business. It's not the least-objectionable program - it's the best program that gets positioned. Same in the movie business. It's not just everything automatically gets done by the "in" crowd.

I've never tried to make a movie to pay an overhead. We're in a very creative business, and I want to make movies because I enjoy that movie or that material.

I'd be lying if I said that I didn't want to do a TV show or movie, but life comes first, and then there's business. If this business doesn't allow me to have my life, then I'll do something else and be a happier man.

At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.

I've always wanted to do a movie, and I really feel the urge to do it.I'm in Hollywood - I have no business not being in the movie industry.

Having my son has changed so much of what I dream about. It used to be about business, business, what's the next deal? What's the next movie? Now it's about him.

When you start in movie business... It is a business, actually. Nothing to do with art. Picasso is art, and Giacometti, but film acting is no art. Just the luck of being discovered, maybe.

You can tell when someone likes you just because you're in a movie, because all they talk about is the movie, and all they talk about is the movie business.

Certainly in the movie business there are bullies all over - bullies in the distribution business, exhibition business, production. Fine-tuning adult bullying is different. When a bully is an adult, it's a whole different set of colors.

For me, I try as much as possible to just think about being in the movie theatre, having the lights dim, and what would I want to see on the screen. That puts me in the frame of mind that made me want to be in the movie business to begin with.

Rome is magic, it's like being in Hollywood. But the difference between Hollywood and Rome is that here you don't have just the movie business. The movie business is so little, so you also have the choice to hang out with people who do different kinds of business.

I've never written a movie, I'm not in the movie business. I go out to L.A. and I'm like everyone else wandering around in a daze hoping I see movie stars. I write the novels that the movies are based on, and that feels like enough of a job for me.

Wherever you go in the galaxy, you can find a food business, a house-building business, a war business, a peace business, a governing business, and so forth. And, of course, a God business, which is called 'religion,' and which is a particularly reprehensible line of endeavor.

The movie business has always been like the wild-catting oil business. Everyone wants a gusher.

I always loved movies as a child, and I love story. I got my degree in English. Film and story seemed, to me, the vector of the movie business. I really didn't know what 'the film business' meant, but I decided I wanted to be in it.