Top 1200 Movie Making Quotes & Sayings - Page 13

Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.

I think movie and television companies are in the business of making money, and if you have a franchise, eventually you'll want to exploit that franchise and revisit it. So I assume at some point someone will do another story in the 'Lost' world.

You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.

On one hand it's very flattering to be compared to a big success, and then sometimes it's very frustrating because you want people to see the movie that you're making and not be continually comparing it to something that it's not. So it goes both ways.

If youre going to spend two or three years of your life working on something, youve got to be making the kind of movie that discusses and influences the culture and is engaged in the world youre living in.

What really changed my life was watching the movie Juice and the opening scene - just hearing that record rotate. When I heard that I started getting serious about DJing and making beats and recording myself on the four-track.

She was terrific to hold hands with. Most girls if you hold hands with them, their goddam hand dies on you, or else they think they have to keep moving their hand all the time, as if they were afraid they'd bore you or something. Jane was different. We'd get into a goddam movie or something, and right away we'd start holding hands, and we wouldn't quit till the movie was over. And without changing the position or making a big deal out of it. You never even worried, with Jane, whether your hand was sweaty or not. All you knew was, you were happy. You really were.

My fear in converting it to 3-D is that people will say, 'Oh, it's the 3-D 'Clash of the Titans.' No, it's 'Clash of the Titans,' the movie, and then, on top of that, you have the 3-D conversion. The 2-D movie works as well as the 3-D movie. I want to make sure that people like the 2-D version.

Stand-up comedy is a lot about amplifying emotions and situations; movie acting has a lot to do with mellowing things down and making them subtle. The transition was almost terrifying because of the magnitude of change.

Avatar' is the greatest, most comprehensive collection of movie cliches ever assembled, but it's put together in a brand new way with a new technology, and tremendous imagination, making it a true epic and a kind of a milestone.

I remember my sisters, they loved a movie called 'The Naked Island.' And the flute was actually playing the main theme. A Japanese movie. A beautiful movie from 1961. I remember hearing this music with a flute many, many times a day at home.

Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.

I think it's very important to recognize talent in all facets of filmmaking. Making a movie is such a lengthy and intense experience, so it's wonderful to honour actors, directors, producers and all crew members who put so much hard work and passion into a project.

I think, in a film that's supposed to last an hour and a half, I think you have to really pay attention to what kind of movie you're making, what is the audience experiencing, and does this joke fit with this joke?

In regards to those other franchises that are being remade, we must take pains to mention that we're the only one where the original creators are actually making the movie. It's a special feel of quality, like a Good Housekeeping quality.

We all forget that when a TV network says, 'Look, we're broke,' it means that they're not making as much money as they would like to be making. They're still making millions and millions of dollars - they're just not making billions and billions of dollars.

The critics didn't like it at all. They felt it was crude and violent without meaning, and they dumped on it. 'Point Blank' marked a shift in movie-making, and they weren't ready for it. However, I think those were the last negative words ever said about it.

I have a new book coming out, so I do movie, book, movie, book, movie, book, every place we go.

I'll be honest - I never saw myself making a ninja movie, never entertained the idea. I think ninja films can be quite cheesy unless you do them in feudal Japan.

One of the hardest things for me as an exec was always, particularly as you progress further in the system, is that you're pushed further away from the day to day, the mechanics of making a movie.

Sundance [festival] is all your Hollywood buds and buddies and rolling out and high-fiving and "Hell, yeah. Here comes the movie," and in Venice, it's very elegant, and respectful...It's decadence. It's such a fun way to formalize a movie that is for us a down-and-dirty, gritty movie. And to see it with the red carpet, and rolling up in a Maserati.

Princess Rose should indeed be a TV movie, assuming something doesn't go wrong. I don't know how good a movie it will be, because the way movie folk think is different from the way writers think, and I distrust what isn't done my way. This is what I call a healthy paranoia.

HATE, even if it's making money. is an underground movie, that's how it was made. It's a film about police brutality in the largest sense, it's about the whole of society and not just about the hood.

'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.

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?

The experience on that movie (Dead Poets Society) was, for lack of a better term, life-altering. Peter Weir has a unique talent for making movies that are intelligent but also mainstream. I've never been terribly successful at doing that.

When I saw the first I couldn't believe I was in another great movie that would be made into a trilogy. This movie is quite visible and I think it will stand the test of time. I think kids and parents will love this movie for a long time.

Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.

With me, I probably work a lot more than people assume I do, but people don't realize how much work goes into writing and producing and making a movie.

Every movie that I've picked, from my first film on, has been considered by everyone to be 'career suicide.' And I have an amazing life. I have an amazing career. I work with artists. But I'm not making 'Spider-Man.'

If a movie makes it really big, they do the obvious thing, right? They make an amusement park ride out of it. ... The connection is obvious. You get off, "Man, that was just like the movie! Only the movie had a storyline and characters, and that was a little more like a roller coaster."

The experience of making a movie, you start to see it everywhere. It's just this amazing mechanism that your brain does because it just so badly wants to be helpful and keep all the information that you need as accessible as possible.

I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'

I'm used to the fact that the world views movie actors as personalities. I'm in the extremely fortunate position of making a living at something I'm passionate about. It's all about choices. By the nature of what I do, I make a choice. I invite them in.

We can learn not to keep situations or events alive in our minds, but to return our attention continuously to the pristine, timeless present moment rather than be caught up in mental movie making.

I'll be honest, I never saw myself making a ninja movie, never entertained the idea. I think ninja films can be quite cheesy unless you do them in feudal Japan.

We're gonna try and bring on all the different aspects of horror movie making and bring on guests and show all these old '50's B movies. Not the real corny ones, the real cool ones.

I'd love to make a movie with Tom Hardy. If we ever got the chance to make a Venom movie together, that would be super-cool, but his movie would have to take place in the MCU because I'm not giving up my ticket in the MCU.

'Avatar' is the greatest, most comprehensive collection of movie cliches ever assembled, but it's put together in a brand new way with a new technology, and tremendous imagination, making it a true epic and a kind of a milestone.

The opening scene from 'Sharknado' I think was better than the original 'Jaws' movie. It was scarier, it was bloodier, and it had more high-anxiety moments than the original 'Jaws' movie. And that movie kept me out of the ocean for a summer.

What I'm doing is creating a game. I'm not making a movie. To make the game more enjoyable and captivating, and to make the player feel like he's present in that setting, we need the cinematic element.

When you add up the minutes you spend actually making a movie - the amount of time you spend actually doing your thing in front of a camera - it just isn't that much. But it's everything.

Usually we're always working on something with this band a tour, making an album or a video or whatever. I don't have any desire to do anything outside this band, except play a movie part or something.

You make a movie to entertain audiences. That's why you make a movie. The product sales is because people love the characters, and to me, that is a testament to how our movie has become so ingrained in family's homes all around the world and that's why I make movies.

I think 3D can be an incredible thing on a movie and a terrible thing for a movie, depending on what kind of movie it is. And I've seen movies where I thought the 3D really enhanced the experience, and sometimes where I thought it just detracted from it.

I really love movie soundtracks and stuff like that. That's really a huge part of any movie. I actually think about... that this would be cool in a movie or something, like when I'm writing a song, or something you know?

If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.

Giancarlo Giammetti has a lot of nervous energy. He's a director, really. He was trying to direct the Valentino movie over my shoulder. I don't blame him - that's been his job for 50 years. But I had final cut in the movie by contract and I wouldn't have made the movie if I had not been completely independent.

I just came back from my hometown, making a movie about a kid who grew up just like me, and it was financed by white people in New York. Personally, I can't be angry. In my personal experience, the support was there.

When I'm making a movie, I don't like to know what's going to happen next. I like to watch something and be surprised all the time, and just not know, and let it take me wherever.

I want to start off making the kinds of films that I loved growing up as a kid. Fun horror films that are scary but at the same time, after you finish the movie, it leaves you excited to see more.

No matter how much you've done before, you wonder if there will be a light at the end of this particular tunnel. It's the nature of the beast, and it's a part of what compels us. Every movie is a new lesson you learn making your way through it.

A debut movie is something that you envision for many, many years. If you really want to make a movie, you constantly think about this first movie, so when you make it, you want to have everything in it.

So you can say whatever you want and quote me however you want about politics and make the next payday, and that's fine because I'm making that deal with you, but just mention the movie along the way, OK?

I know it sounds earnest, but I do really feel in my bones that acting is just a small part of the equation when you are making a movie. The director really is in charge. Actors are as important or unimportant as the rest of the people around them.

I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.'

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

I love working with actors. I love to see what they're going to do. There's just something very thrilling and satisfying with being involved with something, all the way through the process [making movie].

I'm in New Mexico making a movie called "Granite Mountain." I'm playing the head of the organization called Statesman, which is the United States version of Kingsman. I'm like how Michael Caine was in the original.

What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.