Top 1200 Movie Sets Quotes & Sayings - Page 6

The Wizard of Oz' is my favorite movie. It was the first movie I can ever remember watching.

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.

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.

When I am working on a movie, all I want to talk about is the movie. All I want to be with are the movie people. It's like a clan. If I'm asked to people's houses for dinner, I hate to go, because they'll talk about other things.

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 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.

I've heard people say that 'The Blair Witch Project' is a feminist movie because there's a woman in charge and I've heard it called a completely anti-feminist movie because this woman screws everything up. Who cares really? It's just a movie.

'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.'

When I'm in the middle of making a movie, I have blinders on; it's all about just getting the movie out.

Every movie I do is challenging for me. There is some element of imaginative that you wouldn't have in a typical movie.

I would agree Paul is a sci-fi genre movie. And a road movie.

I like happy sets. Happy sets are good, and I think people feel comfortable on them. When fear arrives in any context it's just boring and it closes people down. If people feel inadequate or if they feel bullied... It might work for some people but I think, as a rule, it just takes any joy out of the creative process.

And I like the passion that people have when they're trying to prove they can make a movie or be a movie star.

When the movie starts playing on TV and DVD, that's when you really see what the movie is.

Movie stars need to retain some of that mystique if you are a big movie star.

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.

My favorite movie is 'Die Hard.' It doesn't have pinatas and mariachis. It's just a good movie.

The greatest movie would be the movie that gave the audience a cathartic feeling of transcendence.

No good movie is too long and no bad movie is short enough.

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.

I don't like, speaking about the movie, if I may say couple more words, I like a movie that doesn't drag too much, unless it's purpose. I like a movie with an action with a certain pace. If it's too monotone, I hate it. No, I don't hate it, I just don't like it, period.

I'd like to be in a Spike Jonze movie. But I live in a Nancy Meyers movie.

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.

I grew up in Memphis, Tennessee; I went to college in New Orleans before moving to New York City for graduate school. Both sets of my grandparents grew up in rural Mississippi and brought a lot of agrarian knowledge to Memphis, which is an urban center in the South. Both sets had amazing backyard gardens. My paternal grandfather, practically every inch of available space was green.

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 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 actually heard hip-hop before I saw a movie in a movie theater. I heard hip-hop first, at the tender age of seven, so that came first. I didn't see a movie until I was eight.

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.

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.

I would never make a movie just for the sake of making a 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.

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.

Sometimes when I make a movie, my main goal is to show the movie to one particular director.

Because movies have gotten so expensive, and they're so expensive to market, that means that for a movie to break even or to make its money back, everybody has to go see the movie, and if everybody has to go see the movie, then it can't be about anything.

Movies now, you can watch a trailer for a movie on TV now and you're not sure if it's a video game or a movie. You have to wait till the end of it to see, oh, I see, those actors are in it, so that one's a movie. Oftentimes, it's based on a video game.

Every time I go to a movie, it's magic, no matter what the movie's about.

You can make a movie that's more focused on the jokes, but Young Adult was not that kind of movie.

Suffice to say that the theme (the WHAT of the movie) is going to determine the style (the HOW of the movie).

Whether it be in a small movie or a big movie, I would always be attracted to this role.

'The Wizard of Oz' is my favorite movie. It was the first movie I can ever remember watching.

We have to promote a movie. It's just extraordinary that everybody I'm talkin' to loves this movie.

The movie doesn't do what you want it do. It just grows and then you have a movie at the end of it, hopefully.

When I go to the movie theater, I want to get emotion from the actors in the movie.

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.

'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.

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.

If you watched a movie about a guy who wanted a Volvo and worked for years to get it, you wouldn’t cry at the end when he drove off the lot, testing the windshield wipers. You wouldn’t tell your friends you saw a beautiful movie or go home and put a record on to think about the story you’d seen. The truth is, you wouldn’t remember that movie a week later, except you’d feel robbed and want your money back. Nobody cries at the end of a movie about a guy who wants a Volvo.

I would agree 'Paul' is a sci-fi genre movie. And a road movie.

For a while, my favorite movie was 'Vertigo.' Everything in that movie was captivating to me.

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.

You think it's so cool to have movie stars in your movie, but they become people.

Turn off the sound in a movie, and if you can tell what's going on, the movie should work.

They're trying to beat out this movie, the Ring, which is a similar idea. Our movie is about a website you visit and die in three days. Their movie is about a videotape you watch - and die in three days.

I want to continue to make beautiful movies. The most important thing is to be a part of beautiful stories, that's all I want. So I don't care if it's a Hollywood movie or an independent movie or a Spanish or American movie. I care about telling stories.

The sad thing about working on a movie is that you can never see the movie.

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.

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.

I approach the movies I make as a movie-lover as much as a movie-maker.

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.

I firmly believe that you can't get a good movie without risking a bad movie.