Top 1200 Old Movie Quotes & Sayings - Page 13

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

Reality' is a movie generated by our brains. Because we don't realize this, we are far too confident that the stuff appearing in the movie is actually 'out there' in the world when, in fact, it's not.

Rob Lowe, who I thought was really good in the movie [ Bad Influence], had his performance overshadowed by this sort of tabloid approach to him and the movie.

I spend a lot of time thinking about this business of letting go - letting go of the children God gives to us for such a brief time before they go off on their own; letting go of old homes, old friends, old places and old dreams.

I actually liked Rise of the Planet of the Apes. I remember just watching it and being pleasantly surprised with that movie. I didn't think it would be as good as it was, so I love that movie.

To a large extent, the aged in our society are ghettoized. Old people are seen as useless, bypassed by history, old-fashioned, in the way. So, not surprisingly, when we reach the official mark of old age, we're supposed to go gently into that good night, to get off center stage and hand over the spotlight. Old age is also surrounded by shame - the myth of impotence and inability.

I grew up in the '70s and in Los Angeles during the new blockbuster era. 'Star Wars' was the first film that I saw in the movie theater. I wanted to be an actor; then it turned out to be this 'Wizard of Oz' story: I was 10 or 11 years old, and it turned into something that I didn't think it was.

When I first saw a Fellini movie, I came out of the movie theatre and decided to become a lawyer! I thought to myself, it's impossible to make something so beautiful!

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.

I'm trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie.

The thing is, when you see your old friends, you come face to face with yourself. I run into someone I've known for 40 or 50 years, and they're old. And I suddenly realize I'm old. It comes as an enormous shock to me.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

I've done one movie. And it's not a movie I want to stand on as far as acting ability goes. I mean, I'm not going to win an Oscar anytime soon. I'm not Meryl Streep.

Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.

But we all have experiences of having a truly good time after watching a movie that is not thought-provoking, don't we? I do too and I've been wishing to do that kind of movie. I think 'Collectors' is exactly that.

I knew Marilyn over a two-year period. I met her first on a movie called 'Let's Make Love.' I photographed her at that time on and off through the time of her death. I was 22 years old and she was 34 or 35.

I'm sure I can make a movie that doesn't feel like a seventies movie! But the truth is, that's my favorite era in American filmmaking. To me, those were the great years.

A naughty part of me thinks, how come Hugh Laurie, Stephen Fry and Tim McInnerny have all done really good parts in a film, whereas I've only ever done bits and bobs? Before I die, wouldn't it be nice to be the scheming old man in a movie?

All these people talk so eloquently about getting back to good old-fashioned values. Well, as an old poop I can remember back to when we had those old-fashioned values, and I say let's get back to the good old-fashioned First Amendment of the good old-fashioned Constitution of the United States - and to hell with the censors! Give me knowledge or give me death!

The difficulty of getting a movie made through a major studio is so extreme that when a movie comes out, everyone should give it four stars because it was accomplished.

You can skim those stage directions and go right to the dialogue. You can almost read the movie in the same amount of time it will take you to see the movie.

I would like to have a movie under my own control sometime, and see what could be done with it. Who knows? Maybe Hollywood will make an improvisational movie someday.

I didn't get a formal introduction to horror until right about the age of 12, when my uncle showed me 'Twilight Zone: The Movie.' When you're 12 years old, and you see that - oh, God. I devoured as many horror movies and novels as possible.

I never expect anything. I am always amazed at why anybody goes to any movie or why anybody doesn't go to any movie. Any movie you make, you make it because you're hoping somebody wants to see it, but you never know.

You can take a handful of dollars, a good story, and people with passion and make a movie that will stand up against any $70 million movie.

I have met a lot of top chefs around the world during my travels. Each one of them has said 'Ratatouille' is their favorite movie and the only movie that truly captures what they do.

Merry Christmas, movie house! Merry Christmas, Emporium! Merry Christmas, you wonderful old Building and Loan!

My number one horror movie is the '60s British version of 'Ten Little Indians.' This movie scared me to death when I was a kid - I still dream about it.

The western will always be here. And it just depends on how good you make one. And one movie doesn't kill it. And one movie doesn't preserve it. It's storytelling. It's a very American thing. I'll continue to do it.

When I started on 'The West Wing,' that was at a time when this was still a stigma, because movie stars didn't do TV. Now, every movie star is desperate to find their 'True Detective.'

I will never joke about old soldiers who try to get to reunions to talk over the war again. To talk of old times with old friends is the greatest thing in the world.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

I love the game of basketball. I guess it started with 'Space Jam.' Right after that movie, I went out there to my little Flight hoop and tried to do every dunk in the movie.

Any movie about cult figure Charles Manson needs lots of sex, drugs and blood. But as John Roecker discovered while filming his first feature - screening Friday and Saturday only at the Avalon - the key to amping up the gore is an old standby: puppets.

The fans of 'Speed' are very different from the fans of 'To Wong Foo,' which are different from 'Donnie Darko.' Look at the classics I've been in: 'No Country for Old Men'... 'Little Miss Sunshine'... 'Rain Man' was my first big studio movie! How lucky is that?

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

The great thing for me about 'The Resurrection of Gavin Stone' is it's a throwback to the old fashioned Hollywood movie that you can watch with your family, has a message, and is funny and entertaining. They didn't call them faith-based movies; they just called them good movies.

You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.

It's hard for me to sit still. Now if you'll sit me in front of a great old movie, I'll sit still, because I love that, too.

As a little kid watching horror movies, if you only got to see the monster for the last two minutes of the movie, I thought that movie pretty much sucked.

People are always talking about the old days. They say that the old movies were better, that the old actors were so great. But I don't think so. All I can say about the old days is that they have passed.

I read the book and I think, "Well, this is the movie we're going to make," and then someone else reads it, and they take a completely different movie from it. And both are valid.

You don't put your personal viewpoints in a good movie. A movie should only be concerned with characters, not some big moral, although it's always underneath.

Scorsese would talk to me about this movie 'The Heiress' with Olivia de Havilland. We were talking about this scene in it, and suddenly we were rolling. It was very intentional, and I didn't realize - because we talk old movies all the time.

I've been in movies where so much of the conversation was about, 'Well, after this movie, you're gonna be the biggest movie star.' I sort of have learned that you never really can predict any of that.

I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.

In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.

When you make a movie, you really have to be clever and smart, find something new for the worldwide audience because you aren't making a movie for just France or Germany; it's for everyone in the world.

Old is authentic. Old is genuine. Old is valuable.

At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.

An old market had stood there until I'd been about six years old, when the authorities had renamed it the Olde Market, destroyed it, and built a new market devoted to selling T-shirts and other objects with pictures of the old market. Meanwhile, the people who had operated the little stalls in the old market had gone elsewhere and set up a thing on the edge of town that was now called the New Market even though it was actually the old market.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

Why were you so old when we met? I answered with the truth: Age isn't how old you are but how old you feel.

I also care that the public are getting their 12 dollars worth when they go to a movie, and that they're not coming out not wanting to ever see a movie with me in it again.

I had such a good time doing that movie [Sister Act 2]. My daughter's in that movie. It was a fun film to do. And it shocked a lot of people, because they loved it, and they take it with them.

Making a movie about one group of people isolates the larger majority. That's what I require of the projects that I'm involved with. I would not ever make a movie strictly for Latinos.

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.