Top 1200 Movie Making Quotes & Sayings - Page 14

At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.

Movie-making is serious business. The director and the crew are already under a lot of pressure to give their best to the audience. Therefore, the best part for me as an actor is to act well in the movies and make a jolly atmosphere with the co-stars on the sets.

When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.

I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.

Will Smith is the most successful money-making movie star on planet Earth, in terms of just how many people have gone to see his films, so Will is a guy who gets movies made.

We did the original 'Stargate' as an independent movie. It was a surprise success. Shortly before the movie came out, the financiers who were frightened the movie might not do well sold the film to MGM. When the film came out, it was a hit and spawned TV shows.

My greatest sense comes from the experience of performing in the movie. When I have a great experience, that becomes a perfect movie. If it makes a nickel, it's still perfect. The same is true with a movie that's a bad experience. If it makes a bejillion dollars, I will hate it till the end of time.

I'll take any excuse to have a get-together. For me, it's all about the everyday occasions, whether it's popping champagne to toast good weather, inviting the girls for brunch to rehash a night out, or just making snacks and watching a movie.

I can't imagine making something that is made only to be scary. For me, the darkness and scary material has to have meaning attached to it, or I can't invest the time and energy it takes to write and script or make a movie. It has to mean something.

The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.

The rare opportunity of writing music for a movie about the making of 'Mary Poppins' was impossible to ignore. The fact that it could provide emotional content in relief of the struggles that the Sherman brothers and Walt Disney endured was reason enough to take on the challenge.

I like the detail work of telling a story in small pieces, as is done in movie-making, and also the long leap of faith needed to see a theatre performance through each night. Both require focus and self-discipline.

I loved 'Weekend,' and it meant a lot to me when I saw it in the movie theater. I think 'Looking' feels more like that movie than any of those other shows, with a little more comedy thrown in than 'Weekend.' But it's certainly got the vibe and look and feeling of that movie.

Even though 'Spider-Man' is a huge blockbuster, it really didn't feel like that. It felt like we were making this weird, funny high school movie. Like just hanging out with a group of friends.

These properties that get made into movies, some are easier than others. When they first said, 'Yeah, they're making a movie out of Lego,' I said, 'Lego what? What does that even mean?' And it's such a good concept.

I was diagnosed with hypoglycemia, an abnormal decrease of sugar in the blood. Eventually I learned to eat five small meals a day. Now if I'm making a movie and get hungry, I call time out to eat some crackers.

For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.

So the question never comes up. I love to work with actors who I feel really confident in knowing what I'm going to get from them. And making a movie is such a risk that it's comforting to build up a good support team in production as well as cast.

I think I've been lucky enough not to have to do movie after movie after movie for financial reasons, so I've been able to live life and also make movies. I didn't have to grind them out. I could go long periods where I was living life rather than tripping over cables.

People are always telling me how much they loved 'Empire Records.' We had so much fun making that movie. I was so young - 16 or 17. I still had a tutor!

I don't think know if anything's going to translate anywhere. You're making a movie, you hope it's going to be funny, you can't think about how it's going to go over.

Every movie that I do, if you analyze the stories, you can notice that in each story, that within the movie after the first 15 minutes, it could fall apart. Or every 10 minutes it has the chance that you lose the thread. On the other hand, if you succeed in putting them together, then the movie looks spontaneous and more like cinema.

Would movie moguls release a film portraying Adolph Hitler as a great benefactor of the Jews? Hardly. Would they release a movie if the black community found it to be highly disparaging? No way. You better believe these executives would also think long and hard before they released a movie offensive to American Indians, Muslims homosexuals or virtually any affinity group. Yet, to most movie industries a film which offends millions of Christians is fine and dandy.

I worked at a movie theater in Tempe, Arizona, when I went to community college there. And I got fired because a sorority had rented out a theater to watch 'Titanic,' and they were being really rude to me while they were waiting for the movie. So as I tore their tickets, I told them the end of the movie.

'E.T.' was the movie that made me want to make movies in the first place, and it was the first movie that made me focus on writing instead of what happens in the movie.

I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

I was diagnosed with hypoglycemia, an abnormal decrease of sugar in the blood. Eventually I learned to eat five small meals a day. Now if I'm making a movie and get hungry, I call time out to eat some crackers

Max Baer called me one morning and told me that Carl Foreman was making a movie based on the book 'Mackenna's Gold' and he was sure that I was right for one of the parts. He was so ebullient about it that he bent my ear for 20 minutes.

I used to have a group called Bad-Movie Saturday. Every Saturday, six of us would go see the worst movie that came out each weekend. It'd be noon in Burbank. It was just a running commentary. All executives - we would each talk through the movie and make jokes.

When crime drops dramatically in New York for no apparent reason, or when a movie made on a shoestring budget ends up making hundreds of millions of dollars - we're surprised. I'm saying, don't be surprised. This is the way social epidemics work.

I'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.

I enjoy a lot of stuff. That's why I pursued a career in show business, because I enjoy watching everything as much or more than making it. I'm just a big TV and movie junkie from when I was a kid. Fortunately, it worked out.

I'm pretty much a movie-to-movie guy. It's hard for me to multitask so I feel very one-thing-at-a-time oriented and I usually just wait until a movie's done and it's premiered, then just kind of reflect on what I'm interested in my own life and let the movies come to me rather than force them.

It's not my job. The Weinstein company, it's their job to convince people. My job was to make the movie. That's what I did. I know what we did in France was to have the maximum screenings just to let people talk about the movie and say they enjoyed the movie.

the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.

If a filmmaker is making a movie about a nice Midwestern family or a story that needs a very white character or a black or a Chinese, then I don't expect to go up for it. But I know, especially in places like New York, there's no excuse not to see various colors.

When you start making a movie, people want to know: Who's the star power? And very early, I realized there's not a lot of 26-year-old black actors who have been given the opportunity to be the lead of a film. It's, like, Michael B. Jordan, and then we're done.

The entire process of making a movie is sort of blind trust because, otherwise, all of it just doesn't make any sense: the fact that we can create any sense of reality or emotion given the arbitrariness of a day.

Silences enter the process of historical production at four crucial moments: the moment of fact creation (the making of sources); the moment of fact assembly (the making of archives); the moment of fact retrieval (the making of narratives); and the moment of retrospective significance (the making of history in the final instance).

Any time I hear certain songs I put in a movie, I have to not listen to them anymore because I associate them with that movie. They take on that association rather than the association I had when I first heard them. So it's kinda bittersweet to put a song in a movie, honestly.

It's not uncommon to hear people say that the re-entry into their lives is very hard. A lot of actors say that the hardest thing about working is not working, because you go from one of the most structured environments in the world to a place of no structure. Maybe that's why you see someone go from movie to movie to movie.

I really like working. I can't think of a job I didn't like. I was in an Alvin and the Chipmunks movie, which is not my idea of folk art; but I really enjoyed making it, and everyone was really nice.

We spent six weeks there [in Vegas]. The only thing crazy that I did was shoot that movie [The Hangovers]. The stuff in that movie is way crazier than anything I might have done, drunk one night in Vegas. I mean we did it for real in the movie, so that's as crazy as it got.

I think one of the reasons 'Gremlins' lasts and some other films don't is because I don't think the movie has a whole lot of dated things - sure, the cars, my hair, and few things here and there that date the movie - but it takes place in a sort of everytown, in a sorta non-specific time, and that gives the movie a timeless quality.

I'm never aiming to make a movie like someone else's movie, but in order to describe a movie to someone else who hasn't seen it, you usually have to reference things they have seen.

Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.

The process of making a movie has expanded in terms of effort and time for the director, doing commentaries for the DVD for example, finishing deleted scenes so they could be on the DVD, and doing things like a web blog.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

Normally, after a movie, you know, you don't want to get up and do another one right away. That kind of pretend muscle or whatever you use making movies is kind of, you know, spent. And you have other things to do.

You risk working with this director, you risk making this movie, you risk working with another actor you don't know. It makes your heart beat faster. And it keeps you interested.

When you're making a real documentary, you shoot it and the movie happens. You don't make - this sounds corny - you don't make a documentary, a documentary makes you. It really does.

'Chitty Chitty Bang Bang' was a movie that I repeatedly turned down. The movie's producer, Albert 'Cubby' Broccoli, known for his tight-fisted control of the James Bond movie franchise, desperately wanted to re-team Julie Andrews and me after the success we'd enjoyed with 'Mary Poppins.'

In the movies I've done for Sony, they've never given me quadrant specific notes ever. They say "Keep making it. Just make the movie you want to do." Especially in a comedy because comedy is so tone specific.

When I was making the 'Fast and Furious' movies, I wasn't trying to make a 'Fast and Furious' movie.

Directors, writers, and actors are interested in making movies with me. Producers and movie studio people are not interested in me as they are in Kevin Costner or Tom Cruise. That's just the fact of the matter.

If it feels like you're aiming for something too familiar, and you're not having a primary new experience, then what's the point of making that movie? It's been done before, so try to find something new out of it.

I remember the first time I saw Robert De Niro at a party. I didn't want to run over and shake his hand. I wanted to admire him from a distance. Later, I ended up making a movie with him, and that was fantastic.

It does feel like the middle ground has fallen out. I'm only saying that from personal experience, saying, "I'd like to make that movie" and hearing, "Oh, they're not making those types of movies anymore."