Top 1200 Movie Quotes & Sayings - Page 17

Everyone in the movie industry wants to win an Oscar. I don't think that's why you make movies. But winning an Oscar is not just about making a great movie, unfortunately. It's also having a good Oscar campaign.

The power and influence of a movie star is curious: I didn't ask for it or take it; people gave it to me. Simply because you're a movie star, people empower you with special rights and privileges.

I'm my own artist, and I see artists as movies. No one should try to change them for anything. If you don't like it, you just don't follow it. And if you don't like a movie you don't watch it. Watch another movie.

I can't make a choice to do a movie because people will go see it. People look at what a movie becomes and decide if they'll see it.

I love my iPad. I'll see television shows that I have missed and I'll download them through iTunes. If there is an older movie that I want to watch right away, I can download that movie and watch it.

If I thought of myself as a movie star, I'd be an idiot. I don't know anyone who thinks like that. I don't even know movie stars who think like that.

The first movie that ever scared me, I feel like it wasn't a scary movie. I feel like it was 'Dennis the Menace' or something.

I was watching 'Sabrina the Teenage Witch' - the episode where Sabrina and her friend make a vampire movie for college. I wanted to see if it would be fun to make a horror movie.

I remember when I did 'Mrityudand' there was this big hoo-ha, and people were asking me why I was doing an art movie, and I would just tell them that, 'You know, what's the big deal, it's a movie.' I'm so glad that's a thing of the past.

I had been getting queries from regional filmmakers to do a movie based on my work. But I did not want my work and mission - to create awareness on menstrual hygiene - to be restricted to only a part of the country. In fact, I wanted to do the movie in Hollywood.

[Jim Belushi] and I have a great thing going, and a really weird, offbeat story. [Living In Peril] is the type of movie that I don't even know if it would be made today. Just a very odd film. But a very fun movie.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

Harry [Shearer] and I had an idea to do a movie about rock 'n' roll from the roadies' perspective, from backstage. Then Meat Loaf came out with a movie called Roadie and we thought, "Oh, we can't do that now." So we kind of discarded the idea.

In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.

'Scary Movie' was a different type of comedy than I'm used to. I've mostly done sitcoms, so working with David Zucker, who wrote the film and who directed the last two 'Scary Movie's and 'Airplane' and 'Naked Gun,' was a lot of help.

If you're going to make a movie for ten thousand you can talk everybody into doing it for free. You could make a really good-looking movie right for ten grand, if you have an idea.

George Clooney's 'Ides of March' could be the most under-appreciated movie of the year. In 20 years they're gonna go back and say, 'Oh, that was American politics in that time period.' I follow politics, I love it, and that movie is so authentic.

Back in the days, we had to work with a shoestring budget. We had a movie screen, and we'd show movie trailers on them, and then we'd rip through it and started playing. Now we have a little money to play with to do a cool stage set.

I don't want to do an action movie, because I've acted in them, and they're so boring to do, because they're so technical. The headache of that is daunting. But, if it were an action movie with really interesting characters, how great would that be?

'Breakfast at Tiffany's' isn't a great movie because Audrey Hepburn is brilliant and everyone else isn't. It's a great movie because everybody is fascinating, and she is at the center of it being amazing.

A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.

I guess, deep down, there's a dark side to us. I guess that's why movie fans really love the revenge drama. We like to go into dark movie theaters and fantasize.

The great thing about an anthology is that each year is its own 10-hour movie, and the only requirement is that it's the best 10-hour movie that I can make out of the story.

Most of the time when you see a movie, the best character in the movie is not "the guy," it's the guy next to the guy.

I have a family. I'm married. I'm very, very happy. I wanted to make a movie for my wife and a movie that speaks to what it is to be in a long term, very, very committed relationship because at the heart that's really what it is.

When you fall in love with favourite movie stars, it's not because they're movie stars and unattainable, but because they show you sides of themselves that are extremely personal.

There's a saying in the movie industry that if your movie is about what you actually think it's about, you're in big trouble. I think it's the same with books.

Okay. I picked up a movie to watch tonight. You can watch it with me if you like. It's a chick movie. Merri Lee said that means girls like it, not that there are small birds in it.

I had wanted to be a movie star and had thought I would be a movie star since I was very little. It was just something I saw in my future. But somehow when it happened, I wasn't ready for it.

[ I watched ] Spicoli in Fast Times, which isn't exactly a stoner movie, or The Big Lebowski, which I think is more than a stoner movie or Brad Pitt in True Romance.

We do have a problem in this country. You can either make a movie and ignore that, or you can acknowledge it and say, this is the water that we're living in. You know this - the movie lives in this - it's centered around this particular problem, and I chose to acknowledge it.

If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?

It was such an amazing feeling to be on that movie set. And for the first scene I ever did in any movie, I improvised for about 10 minutes, and then there's applause by the crew, you know what I mean? I haven't had that before or since. It was just such an amazing moment.

TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.

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. None of us were really known then, as well. It felt like a big deal, at the time.

I would say that when I joined 'Loki,' it was always going to be those six episodes. We were treating it like a movie, and we were running it like a movie. We weren't doing it in the showrunner system.

I'd always hoped to write the story as a novel, but there was a long period when the [Bridget Jones's Baby: The Diaries] movie was stalled and in confusion. I felt frustrated creatively, and just couldn't work on the Baby material till the movie was sorted out.

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.

Yeah, it was always a low-budget passion project. It's my directing debut. I've always wanted to make an improv movie because I have so much experience in it, but it's not a big studio movie. It was an experiment that turned out better than I thought.

Fortunately, working with Universal was just a real opportunity of a supportive entity, who not only financially backed and distributed the movie, but creatively collaborated with us, and gave us ideas and creative ways to make a movie that was budgetarily responsible.

As great as Ed is, the wisdom out here is that he can't carry a movie. They'll pay him $3 million to be the second banana in Julia Roberts things. But they won't put up $3 million for an Ed Harris movie.

I'm a huge fan of comic books movies and comics, and so for me it was a real dream to get to make a movie in this world, and certainly to get to make a movie with Venom as its titular character.

I wanted to be a part of the first 'Twilight' movie, and unfortunately, it didn't work out so great. So when they came back and were like, 'Do you want to come in for a part for the second movie,' I was like, 'Absolutely.'

The movie that scared the hell out of me was 'The Blair Witch Project.' I can't remember another movie that scared me the way that one did.

Everybody says, 'You impress me as a guy who never wanted to be a movie star.' I say, 'Everybody in the world wants to be a movie star.'

Every movie is a road movie. Every novel is a mystery. Every tortilla chip is sacred.

I did do a war movie, 'Windtalkers.' That was a lot of action. But once you've done one big action/war movie, you don't need to do another one.

It was great for that to be my first movie with such a wonderful cast, and such a huge movie. And now I get to do The Fighting Temptations, which is coming out soon-it wasn't much of a character, it was more of a real person, so I got to show more of my acting range.

I do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.

A home movie of a fictional home life, an epic assembled from vignettes, 'Boyhood' shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.

I see the whole episode in my memory as if it were a very crisply photographed black and white movie. Directed by Bergman perhaps.We are playing ourselves in the movie version. If only we could escape from always having to play ourselves !

I always used to wonder why American actors were getting fat, then I made a U.S. movie. I'm seeing all the food every day, and there's lots of waiting around because making an American movie is very slow.

I don't think every movie should be in 3D. I hope the Coen brothers don't do their next movie in 3D. I don't think they have any plans to.

Lee Marvin was there at the same time, and I knew obviously it was his movie [Emperor Of The North], and Ernie Borgnine was playing the other part in the movie.I met Marvin there at wardrobe, and he said, "What are you doing for lunch?" I said, "Nothing." He said, "C'mon with me!" And he took me to the commissary. I walked into the commissary with Lee Marvin at 20th Century Fox, and he introduced me to people. He said, "This's Keith Carradine. We're doin' this movie together." He was so cool. I mean, my God.

And, for the record, I didn't murder anybody. I want to make that clear. It's entertainment and it brings about the message I believe Scott wants to portray in this movie. There are a few messages in the movie and I'm not going to tell you what they are, but Scott hits the nail on the head with him.

You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.

I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.

If you want to make a movie, there may be many forces trying to pull you down, but really, a lot of it is will power. You can will it into being if you just believe that you are going to make a movie.

I think 'Death Race 2000' is a classic, but it's a classic from the 1970s, and I think it's a particular kind of drive-in-exploitation movie satire masterpiece, and it was very much a movie of its time.

Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.